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Scanned  from  the  collections  of 
The  Library  of  Congress 


jrr 


AUDIO-VISUAL  CONSERVATION 
at  Tfu-  LIBRARY  >j 'CONGRESS 


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■  ~    -      JL 


Packard  Campus 

for  Audio  Visual  Conservation 

www.loc.gov/avconservation 


Magazine   off   the  Amateur    Cinema   League,   Inc 


C2??2j££el<Jr-s* 


' '  S7?7^C*-JLeJrL*4-J 


FEBRUARY 


25c 


JANIJ  ARY,  1942 


77?  k*6S 


EVERY  NEW   MEMBER    GETS*- 

The  ACL  Movie  Book 

IT'S  the  latest  book  on  amateur  movie  making!  .  .  .  It's  the 
biggest  book  about  the  subject  written  in  the  past  decade! 


311  PAGES— OVER  100  I  LLUSTRATIONS— FRAME 
ENLARGEMENTS— PHOTOGRAPHS— DRAWINGS! 
INTERESTING  —  NEW  IDEAS  —  SIMPLY  WRIT- 
TEN— ACCURATE— COMPLETE— FULL    INDEX. 

Written  by  the  staff  of  the  Amateur  Cinema  League — com- 
piled from  their  experiences  in  serving  thousands  of  movie 
makers  for  over  a  decade,  this  book  represents  the  latest 
and  simplest  cine  technigue.  It  is  based  on  what  amateurs 
do.  It  tells  you  what  you  want  to  know  because  it  comes 
from  the  needs  and  guestions  of  over  21,000  League  mem- 
bers— every  one  a  real  movie  maker. 

The  new  book  is  packed  with  information  and  it 
is  simply  written  in  an  informal  style.  You  will 
find  it  fascinating,  and  you  may  be  sure  that  the 
information  is  correct  —  IT'S  AN  ACL  PUBLICA- 
TION. 

GET  THIS  NEW  BOOK  IN  ADDITION  TO  THE 

SERVICES  AND  PUBLICATIONS  LISTED  BELOW 

ALL  FOR  $5.00  A  YEAR 


*  MOVIE  MAKERS  .  .  .  Membership  includes  a  sub- 
scription to  Movie  Makers  monthly,  which  covers 
every  phase  of  amateur  and  practical  filming. 
Each  month  there  are  articles  for  the  beginner  as 
well  as  for  the  experienced  movie  maker. 

it  Technical  consulting  service.  .  .  Any  League  mem- 
ber can  put  his  movie  making  problems  up  to  the 
technical  consultant,  and  he  will  receive  prompt, 
detailed  service. 

it  Continuity  and  film  planning  service  .  .  .  The  con- 
tinuity consultant  will  aid  you  in  planning  specific 
films  by  offering  you  continuity  and  treatment 
suggestions,  ideas  on  editing  and  title  wordings. 

it  Club  service  .  .  .  Those  who  wish  to  organize  a 
club — either  for  the  production  of  films  or  for  the 
interchange  of  ideas  between  cameramen  —  will 
obtain  full  aid. 

it  Film  review  service  .  .  .  You  may  send  films  to  the 
League  for  criticism  and  review. 

it  Booklets  and  service  sheets  .  .  .  These  are  available 
to  all  members.  Booklets  are  sent  automatically, 


as  published,  to  members  who  request  them.  Book- 
lets now  current  are: 

Color  filming — 27  pages,  illustrated 
Titling  technique — 32  pages 
Featuring  the  family — ?4  pages 
Lighting  personal  movies — 37  pages,  illus- 
trated 
Films  and  filters — 31  pages,  illustrated 
Building  a  Dual  Turntable — 30  pages,  illus- 
trated 

it  Equipment  service  .  .  .  The  League  aids  members 
in  locating  new  equipment. 

it  Film  Exchange  ...  A  member  may  list  his  films 
for  temporary  loan  among  other  members  and  will 
receive  in  return  a  list  of  films  offered  by  other 
members. 

it  Special  services  ...  in  two  important  fields  are 
available.  Through  the  Film  Review  Chart  a  mem- 
ber jean  get  particularly  efficient  criticism  on  his 
reels.  By  means  of  the  Film  Treatment  Chart,  a 
member  may  secure  individually  prepared  film 
plans  and  continuity  outlines.  These  charts  are 
supplied  on  request  to  members  only. 


AMATEUR  CINEMA  LEAGUE,  Inc.  1 

420  Lexington  Ave.  Date I 

New  York.  N.  Y.,  U.  S.  A. 

I 
I    wish   to   become   a    member   oi   AMATEUR    CINEMA    LEAGUE,    Inc.    My    remittance   for   $5.00,       | 
made  payable  to  AMATEUR  CINEMA  LEAGUE,  Inc.,  is  enclosed  in  payment  of  dues.  Of  this  amount, 
I  direct  that  $2  be  applied  to  a  year's  subscription  to  MOVIE  MAKERS.   (To  nonmembers,  subscrip- 
tion to  MOVIE  MAKERS  is  $3  in  the  United  States  and  possessions;  $3.50  in  Canada,  $3.50  in  other 
countries.) 

MEMBERSHIP    $5   a   year 

Name 

Street 

city Pnfal&®heT.'.  a.  Mnd. .  sh  »*.* ., state 

*    id  Jan.   '42       ■ 


GET    THESE    INDISPENSABLE 
FILMING  AIDS  AT  ONCE  FOR 


Five  dollars  a  year 


Amateur  Cinema  League,  inc. 

420  Lexington  Ave.  New  York,  New  York,  U.  S.  A. 


^Hd^^e^f^^^ceaZb^fp 


The  Eskimo's  life  is  so  hard  that  he  seldom 
smiles  or  jokes.  True  or  false? 

It  was  proved  in  1941  that  naval  power 
is  no  longer  important.  True  or  false? 

In  bowling,  fast  balls  always  knock  down 
more  pins  than  slow  balls.  True  or  false? 

FIND    OUT    THE   "MOVIQUIZ"    WAY! 


Play 


...  a  fascinating  new  game 

.  .  .  entertaining  and  educational 

.  .  .  for  children  and  adults 

How  much  do  you,  your  children,  and  your  friends  know  about 
America?  About  our  great  National  Parks  and  other  scenic 
wonders  ?  About  the  world  and  its  peoples  ?  About  history, 
current  events,  sports,  and  bird  life? 

Here's  a  delightful  new  way  to  measure  that  knowledge  and, 
more  important,  to  increase  it  tremendously  .  .  .  while  having 
a  lot  of  fun  and  good  fellowship.   Play  Moviquiz! 

HOW  TO   PLAY  MOVIQUIZ 


Go  to  your  Filmo  dealer  and  rent  or 
purchase  one  or  more  B&H  Movi- 
quiz Films.  The  Moviquiz  kit,  in- 
cluding rules,  question  sheets,  and 
answers,  will  be  supplied  at  a  cost 
of  only  2  5  cents  for  each  film. 

Before  projecting  a  film,  have  each 
participant  check  what  he  or  she 
thinks  are  the  correct  answers  to  the 
Quiz  Sheet  questions.  Then  show 
the  film,  and  listen  for  the  expres- 


sions of  elation  (or  otherwise  )  as  the 
film  reveals  the  true  answers.  After- 
ward, the  papers  may  be  graded  and, 
if  you  wish,  prizes  may  be  awarded. 
Play  Moviquiz  once,  and  you'll 
make  it  a  regular  feature  of  all 
gatherings  in  your  home!  You'll  be 
amazed  at  how  Moviquiz  deepens 
children's  interest  in  informative 
films  ...  at  how  much  more  they 
learn,  this  stimulating  new  way. 


YOU  PICK  YOUR  QUIZ  SUBJECTS 


It's  good  quiz  technique,  of  course, 
to  select  subjects  suitable  for  the 
age  level  and  knowledge  of  those 
who  play  the  game.  So  that  you  may 
follow  this  good  practice,  Bell  & 
Howell  offers  Moviquiz  Films  in 
wide  diversity  .  .  .  offers  a  group  of 
films,  with  more  to  follow,  under 


each  of  these  classifications: 
See  America  First     •     Our  Colorful 
World     •     North  American  Birds     • 
History  and  Current  Events  •  Sports 
•   Handicrafts  and  Hobbies 

Stage  your  first  Moviquiz  this  week 
end.  See  your  Filmo  dealer  today. 

Get  These  New  Film  Catalogs 

Not  only  the  Moviquiz  Films,  but 
thousands  of  other  fine  films  for  home 
movie  programs,  are  described  in 
these  three  new  Filmosound  Library 
Catalogs.  Free  to  16mm.  sound  pro- 
jector owners;  2  5c  each  to  others. 
Mark  coupon  for  catalogs  wanted. 

Bell  &  Howell  Company,  Chicago; 
Washington,  D.  C;  London. 


What  "All-gear  Drive"  Means  in 
Filmo 
Projectors 


When  we  say  that  Filmo 
Master  8mm.  and  16mm.  Pro- 
jectors have  all-gear  drive,  we 
mean  that  all  power  trans- 
mission, visible  and  invisible, 
is  done  without  spring  or 
chain  belts.  B&H  construc- 
tion like  that  pictured  here 
frees  you  from  handling  oily 
reel-spindle  belts,  eliminates 
chains  which  wear,  jerk,  and 
become  noisy,  and  gives  you 
positive,  quiet  drive,  always. 

During  manufacture,  as- 
sembly, and  testing  of  Filmo 
Projectors,  2800  inspections 
assure  meeting  B&H  stand- 
ards of  precision.  Filmo 
Master  Projector,  16mm., 
$169-60;  8mm.,  $116.25. 


Why  B&H  Lamps  Give  a 
Bigger  Money's  Worth 


A  projection  lamp  rating 
of  1000,  750,  or  500  watts 
doesn't  guarantee  delivery 
of  the  indicated  light  to 
your  screen.  As  much  as 
1/3  of  the  light  can  be  lost 
if  the  lamp  filament  is  not 
centered  in  the  projector 
optical  system.  Filament 
location  varies  as  much  as 
3/16-inch  from  the  ideal! 
That's  a  tremendous  vari- 
ation, for  the  filament  area 
is  only  Vi-inch  square. 

B&H  lamps  are  no  bet- 
ter than  others  when  we 
get  them.   But  B&H   in- 
spection rejects  all  except 
the  best.  In  the  machine 
shown  here,  each  accepted  lamp  is  placed  with 
its  filament  in  the  ideal  location,  and  clamped 
there.  Then  the  machine  brazes  the  B&H  pre- 
focusing  ring  to  the  lamp  base.  Thus  each  lamp 
is  a  custom  job,  "tailored"  for  your  Filmo! 

A  lamp  so  prepared  can't  be  put  into  a  Filmo 
Projector  in  any  but  the  one  position  where  all 
its  useful  light  will  be  available  for  the  screen. 
That's  why  Filmo  Projectors  and  B&H  lamps 
give  you  the  light  you  pay  jor! 


Filmosound  "Utility" 

For  showing  sound  films 
at  home.  Presents  16mm. 
silent  films,  too — a  real, 
all-purpose  projector. 
Ask  your  dealer  for  a 
demonstration,  and  for  a 
trade-in  allowance  on 
your  silent  projector. 


Send  Coupon  for 
Complete  Information 


New  York;  Hollywood; 
Established  1907 


PRECISION- 
MADE    BY 


BELL  &  HOWELL  COMPANY 
1843  Larchmont  Ave.,  Chicago,  III. 

Please  send  complete  details  about:  (  )  Movi- 
quiz Films;    (  )  8mm.  projectors;    (  )   16mm. 
silent  projectors;  (  )  Filmosounds. 
Send  catalogs  of  16mm.  films:  (  )  educational; 
(  )  recreational;  (  )  religious.  I  own  <  >  ^"nt 

proj  ector  of make. 

Name 

Address 

Ci*y State MM  1-42 


WkOHuQleui 


CAMERAandPROJECTOR 

I  can  give  my  family  and  friends  outstanding 
home  movie  entertainment." 
The  Revere  8  mm  Camera,  with  its  fine  lens 
and  precision  mechanism,  takes  marvelous 
movies  in  natural  colors  or  in  sparkling  hlack 
and  white.  It  is  easy  to  load  and  use  and  has 
many  advanced  features,  including  automatic 
film-loop  sprocket,  5  speeds,  parallax-cor- 
rected view  finder  with  large  eye-piece,  and 
strong  five-foot  spring  motor. 
The  Revere  8  mm  Projector  is  today's  best 
buy,  because  it  leads  in  features  that  assure 
easier  and  better  projection  and  full  protec- 
tion for  film. 

See  Revere  equipment  at  your  dealer's!  Send 
for  literature!  Revere  Camera  Co.,  Dept. 
1MM,  320  E.  21st  St.,  Chicago,  111. 


REVERE  ,,99,, 
CAMERA 

has  a  rotating  turret  head 
which  permits  instant 
change  ot  lens  equipment. 
It  holds  three  screw-type 
lenses  and  has  an  extra 
view  finder  for  use  with 
telephoto  lenses.  Complete 
with  one  Wollensak  F2.5 
lens    $77. 50 


The  Revere  Projector  can  be 
threaded  quickly.  Hinged  roller- 
film  guides  (such  as  are  found  only 
in  high  priced  16  mm  projectors), 
hold  the  film  in  place  after  it  has 
been  threaded  on  the  upper  and 
lower  sprockets  and  assure  long 
film    life. 

REVERE  "80" 
PROJECTOR 

excels  in  screen  brilliance  and  pro- 
fessionally   smooth    performance. 
Heavy  Duty  AC-DC  Motor 
Double   Blower  Cooling   System  for 
lamp  and  film 

High-ratio  Duplex  Shuttle  Film 
Movement 

Enclosed  Precision  Mechanism  (no 
belts) 

Fast  Power  Rewind 
Manual  Clutch  for  "Stills" 
Radio   Interference  Eliminator 
Complete    with    long-life    500    watt 
lamp,    FI.6    lens    and    one    300    foot 
reel     $75. OO 

REVERE   "85" 
PROJECTOR 

Same  as  "80"  plus  Micro  -  Tilt, 
Duo-Shield  Light  Diffuser,  Beam 
Threading  Light  and  Carrying 
Case  $89. 50 


REVERE  "88" 
CAMERA 

uses  economical  8 
mm  film.  Automatic 
film-loop  sprocket. 
Eastman  -  licensed 
spool  and  spindle.  5 
speeds,  8,  12,  16,  24, 
and  32  frames  per 
second.  Focal  plane 
160  degree  rotary 
disc  shutter.  Positive 
speed  governor  con- 
trol. Precision  mech- 
anism with  helically 
cut  bronze  and  steel 
gears.  Com- 
plete with 
Wollensak  F3.5 
lens  ___$38.50 


Revere 


REVERE   PRECISION   CONSTRUCTION 

To  insure  smooth  operation  and  rock-steady  movies, 
Revere  checks  the  quality  and  measurements  of  all 
parts  in  Revere  Cameras  with  the  most  modern 
scientific  instruments.  As  illustrated  above,  the 
spindles  are  inspected  with  micrometer  gauges. 
They    must    not  vary    more    than    .00025    of    an    inch 


MAKERS 


The    Magazine    of    the    Amateur   Cinema    League,    Inc. 


C  O  I\I  E  N  S 


Volume  17 


January,  1942 


Number  1 


Cover   design Visn(d     FacU 

Free  film  reviews   • o 

How  we  can  serve,  editorial o 

To   Members   of   the  Amateur   Cinema   League in 

Wartime  filming  restrictions 11 

Filming  swift  skis Benjamin  F.  Father,  jr.,  A  CL  13 

There's  fun  in  titles Elaine  Carlson  Westby,  ACL  14 

Make  your  own  dolly Tom    Griberg,    ACL  15 

Home    lighting    and    its    results j^ 

Practical  films Gordon   L.  Hough  18 

How    libraries    use    movies Gerald  D.  McDonald  19 

A  club  shows  its  work Ormal  I.  Sprungman,   ACL  20 

Amateur     clubs James   W.  Moore,   ACL  21 

The  c,inic Kenneth  F.  Space,  ACL  24 

News  of  the  industry Russell  C.  Holslag,  ACL  26 

Films   you'll   want   to   show 27 

Subterranean    movie 33 

Closeups .34 

Club  has  rating  chart Dean    H_    Ashton,    ACL  38 


RUSSELL   C.   HOLSLAG 

Advertising  Manager 

JAMES   W.   MOORE 
Continuity  Editor 

KENNETH  F.   SPACE 

Technical   Editor 

ALEXANDER    de    CANEDO 

Art  Editor 


ARTHUR     L.     GALE. 
Editor 


I  ▼  M   \^W    ^r 


is  published  monthly  in  New  York,  N.  Y.,  by  the  Amateur  Cinema  League,  Inc. 

Subscription  rate  $3.00  a  year  postpaid  (Canada  and  Foreign  $3.50);  to  members  of  the 
Amateur  Cinema  League,  Inc.,  $2.00  a  year,  postpaid;  single  copies  25c  (in  U.  S.  A.).  On 
sale  at  photographic  dealers  everywhere.  Entered  as  second  class  matter,  August  3,  1927, 
at  the  Post  Office  at  New  York,  N.  Y.  under  act  of  March  3,  1879.  Copyright,  1941,  by  the 
Amateur  Cinema  League,  Inc.  Title  registered  at  United  States  Patent  Office.  Successor  to 
Amateur  Movie  Makers,  title  registered  at  United  States  Patent  Office.  Editorial  and 
Publication  Office:  420  Lexington  Avenue,  New  York,  N.  Y.,  U.  S.  A.  Telephone  MOhawk 
4-0270.  Advertising  rates  on  application.  Forms  close  on  10th  of  preceding  month. 

CHANGES  OF  ADDRESS:  A  request  for  a  change  of  address  must  reach  us  at  least  by 
the  twelfth  of  the  month  preceding  the  publication  of  the  number  of  Movie  Makers  with 
which  it  is  to  take  effect.  Duplicate  copies  cannot  be  sent  when  a  number  of  the  magazine 
does  not  reach  you  because  of  failure  to  send  in  this  advance  notice.  The  Post  Office  will 
not  forward  copies  unless  extra  postage  is  provided  by  you. 


DA-LITE 
SCREENS 


Scene  from  "On  the 
Right  Track,"  new 
sound  slidefilm  of  The 
Cleveland  Tractor 
Company,  which  uses 
Da-Lite  Screens  exclu- 
sively for  the  follow- 
ing reason  as  stated 
by  Mr.  S.  C.  Brown, 
Advertising  Man- 
ager, who  writes — 
"They  are  the  best 
on  the  market  .  .  . 
the  Da -Lite  Glass- 
Beaded  Screen  gives 
better  results  under 
all  conditions  than 
any     other     screen." 


'JH 


THE    DA-LITE    CHALLENGER  ;s  the  only  screen  with 

square   tubing   in   both   the   center   rod  of  tripod   and    extension   support 
for   perfect  screen    alignment   and    unequalled    rigidity. 

PARTIAL     LIST     OF     PROMINENT     USERS 


Armour  &  Co. 

Continental   Oil  Co. 

The  Cleveland  Tractor  Co. 

The   Mercury  Corp. 

Lion    Oil    Refining    Co. 

United     Wallpaper     Factories, 
Inc. 

The    Firestone    Tire    &     Rubber 
Co. 

International    Harvester   Co. 
Nash     Motors     Division,     Nash 

Kelvinator    Corp. 
General    Mills,    Inc. 
Illinois    Central    System 
Smith    Brothers    Mfg.  Co. 


Great   Northern    Railway   Co. 

Edison  General  Electric  Appli- 
ance Co. 

The    Pure    Oil    Co. 

Youngstown  Pressed  Steel  Divi- 
sion  of    Mullins    Mfg.    Corp. 

Plymouth  Division,  Chrysler 
Corp. 

General    Electric   X-Ray    Corp. 

Deere  &  Co. 

Savings  Bank  Association  of 
New   Hampshire 

Kelvinator  Division,  Nash  Kel- 
vinator  Corp. 

Minneapolis-Moline  Power  Im- 
plement  Co. 


Oldsmobile     Division,     General 

Motors   Sales   Corp. 
H.  J.   Heinz  Co. 
York    Ice    Machinery    Corp. 
The  Toledo  Steel   Products  Co. 
The    Crosley   Corp. 
The    Perfect   Circle   Co. 
Chrysler    Division,    Chrysler 

Corp. 

Ford    Motor   Co. 
J.   I.  Case  Co. 

Michigan   State   Board  of  Con- 
trol for  Vocational  Education 
The  Todd   Co.,    Inc. 
Charles   P.   Cochrane  Co. 


— as  Shown  hy 

Sales  Management's  Survey 

of  cJ-naustrial  QJtira    Users. 


In  choosing  a  screen  for  your  home  movies 
or  stills,  consider  the  experience  of  leading 
users  of  industrial  films.  With  thousands  of 
dollars  invested  in  their  film  productions, 
they  are  careful  to  select  only  screens  that 
show  their  pictures  at  their  best. 

It  is  significant  that  the  latest  survey  of  these 
users  reveals  an  overwhelming  preference  for 
Da-Lite  Screens.  The  October  10th,  1941 
issue  of  Sales  Management  magazine  cover- 
ing the  leading  business  films  of  the  year, 
shows  that  of  29  companies  which  mentioned 
makes  of  screens  used,  27  listed  only  Da-Lite. 

In  industry,  homes,  schools,  churches,  thea- 
tres— wherever  the  importance  of  brilliant, 
sharp  pictures  and  utmost  convenience  is 
recognized,  critical  buyers  choose  Da-Lite 
Screens — the  leader  for  33  years  and  now 
more  popular  than  ever.  Your  dealer  has 
Da-Lite  Screens  in  the  style  and  size  you  want, 
from  $2.00*  up.  See  them  today!  Write  for 
literature!  Da-Lite  Screen  Company,  Inc., 
Dept.  1MM,  2711  North  Crawford  Avenue, 
Chicago,  Illinois. 

*Prices  slightly  higher  on  Pacific  Coast. 


A  GUARANTEE 

That  Means  Something 

The  beads  on  a  Da-Lite  Glass-Beaded  Screen  are 
guaranteed  not  to  shatter  off.  The  entire  screen,  in- 
cluding fabric  and  mounting,  is  guaranteed  to  be  free 
from  defects  in  materials  and  workmanship.  The  fab- 
ric is  specially  processed  to  stay  white  and  pliable. 
Because  dust  and  dirt  accumulate  on  any  screen  over 
a  period  of  years  and  destroy  its  original  brilliance, 
Da-Lite  does  not  guarantee  permanent  whiteness,  for 
to  do  so  would  be  meaningless.  The  reliability  of 
Da-Lite  Screens  has  been  proved  by  thousands  of 
users  over  a  period  of  33  years. 


REC. U.S. PAT.  OFF. 


Iffi/ieu  1/cn*  Guy, 


MOVIE    MAKERS 


grim  history  .  .  on  film  .  .  for 
now  and  posterity.  The  be- 
ginning of  the  most  tremen- 
dous struggle  of  our  day! 
The  film  every  projector 
owner  must  possess!  Don't 
wait!  Get  Castle  Films' 
"JAPS  BOMB  U.  S.  A." 

AT  YOUR  PHOTO  DEALER'S  OR  SEND  HANDY  ORDER  FORM  TO 
YOUR  PHOTO  DEALER  TODAY!  NOW! 


All  Castle  16  mm. 

films  are  processed 

by  VAP-0-RATE. 

All  8  mm. 

Castle  films  are 

also  treated. 


CASTLE  FILMS 


Please  send  Castle  Films' 
"JAPS  BOMB  U.  S.  A."  in  the 
size  and  edition  checked. 


Name. 


*■■■■■«* 


"**■■■ 


Address- 
City 


RCA  Building 
New  York 


Field  Building 
Chicago 


Russ  Building 
San  Francisco 


State- 


8  mm. 

Headline   $|    ^r 
50  Feet         I./3 

Complete  $/r    JT/\ 
180  Feet       O.OU 

16  mm. 

Headline  $fs    yr 
100  Feet      X./O 

Complete  $Q    7C 
360  Feet      O./  3 

Sound     $17    p/\ 
350  Feet   1'  .  JV 

FREE  FILM  REVIEWS 


JANUARY    1942 


You  can  borrow  these  new  publicity  movies  without  charge 


THESE  films,  the  latest  publicity  pic- 
tures produced,  are  offered  on  loan, 
without  charge.  Some  may  be  available 
to  individuals,  and  others  are  available 
only  to  clubs  or  groups.  In  certain  cases, 
the  type  of  organization  to  which  the 
films  are  lent  without  charge  is  speci- 
fied. To  borrow  these  films  for  a  screen- 
ing, write  directly  to  the  distributor, 
whose  address  is  given.  (Note  carefully 
the  restrictions  mentioned  in  each  case.) 

LATEST  RELEASES 

Sand  and  Flame,  766  feet  of  16mm., 
or  1915  feet  of  35mm.,  sound  on  film, 
color;  produced  by  the  Jam  Handy 
Organization. 

Offered  to:   groups  only. 

Available  from:  Department  of 
Public  Relations,  General  Motors  Cor- 
poration. 1775  Broadway,  New  York, 
N.  Y. 

Sand  and  Flame  contrasts  the  old 
method  of  glass  manufacture  with  the 
new  one  of  making  glass  with  the  aid 
of  sand  and  flame.  From  the  elemen- 
tary production  of  such  objects  as 
bottles,  window  panes,  plate  glass  and 
thermometers,  we  next  learn  how  glass 
is  blown  into  intricate  patterns  and 
how  sand  is  transformed  into  a  cloth 
of  beautiful  color  and  texture. 

Educator's  comment:  This  excel- 
lent film  may  be  used  in  high  school 
general  science  or  chemistry  classes, 
to  introduce  glass  making,  also  in 
junior  high  school  or  slightly  lower 
grades  for  groups  interested  in  house 
or  car  construction,  modern  manufac- 
turing methods  or  glass  in  general. — 
E.  D.  C. 

Unseen  Worlds,  1  reel,  16mm.  and 
35mm.  sound  on  film,  black  and  white; 
produced  by  William  J.  Ganz  Company. 

Offered  to:  groups  only. 

Available  from:  William  J.  Ganz 
Company,  19  East  47th  Street,  New 
York,  N.  Y. 

This  film  describes  in  detail  the  elec- 
tron microscope,  one  of  the  most  widely 
discussed  scientific  developments  in  re- 
cent years.  This  new  marvel,  invented 
by  the  RCA  Manufacturing  Company, 
opens  to  human  eyes  a  new  universe 
of  objects  smaller  than  light  waves  and 
provides  magnifications  of  50.000  to 
150.000  diameters  —  far  beyond  the 
range  of  light  microscopes.  Commenc- 
ing with  scenes  of  Leeuwenhoek  and 
Pasteur,  the  film  discusses  the  light 
microscope  and  its  contribution  to  sci- 
entific progress.  Finally,  the  operation 
■of  the  RCA  electron  microscope  is  de- 


scribed, and  some  electron  micro- 
graphs are  flashed  on  the  screen. 

Educator's  comment:  Unseen 
Worlds  is  a  good  film  to  use  in  high 
school  or  college  science  classes  study- 
ing microscopes. — E.  D.  C. 

How    Not    to    Conduct    a    Meeting, 

369  feet  of  16mm.,  or  941  feet  of 
35mm.,  sound  on  film,  black  and  white; 
produced  by  Sound  Masters. 

Offered  to:  groups  only. 

Available  from:  Department  of 
Public  Relations.  General  Motors  Cor- 
poration, 1775  Broadway,  New  York, 
N.  Y. 

In  How  Not  to  Conduct  a  Meeting, 
Colonel  Stoopnagle,  in  his  usual  hu- 
morous vein,  acts  out  the  common 
faults  in  planning  and  conducting 
meetings;  there  is  disagreement  about 
the  ventilation  in  the  room,  queer 
noises  commence  for  no  apparent  rea- 
son, and  he  is  frequently  interrupted 
by  telephone  calls.  Although  most  of 
the  breaks  in  the  speech  are  absurd 
and  highly  improbable,  there  are  a 
number  of  sound  points  set  forth. 

Educator's  comment:  Speech  stu- 
dents or  English  pupils  in  high  schools 
or  adult  schools  may  be  stimulated  by 
this  picture  to  analyze  more  critically 
their  own  faults,  but  the  most  impor- 
tant mistakes  of  speakers  are  not  con- 
sidered. Some  teachers  who  showed  it 
in  their  classes  thought  it  worthless, 
but  a  few  said  that  it  fixed  one  or  two 
points  and  led  to  an  interesting  dis- 
cussion of  public  speaking. — E.  D.   C. 

Unsung  Heroes,  1200  feet.  16mm. 
sound  on  film,  color;  produced  by  The 
Calvin  Company. 

Offered  to:  groups. 

Available  from:  Visual  Education 
Section,  Westinghouse  Electric  &  Man- 
ufacturing  Company,   Mansfield,   Ohio. 

Unsung  Heroes  tells  of  the  extreme 
care  used  in  manufacturing  electric  re- 
frigerators and  of  the  exacting  tests 
for  durability,  accuracy  and  silence  of 
operation.  Although  the  film  is  based 
on  the  familiar  "trip  through  the  fac- 
tory" pattern,  it  has  great  interest  for 
consumer  audiences. 

Educator's  comment:  This  film  is 
usable  in  high  school  classes  in  sales- 
manship.— E.  D.  C. 

Because  Somebody  Cares,  400  feet, 
16mm.  sound  on  film,  black  and  white; 
produced  by  Willard  Pictures. 

Offered  to:   groups  only. 

Available  from:  Good  Shepherd 
Home.  Allentown,  Pa. 

This    film    shows    in    warm,    human 


terms  how  the  kindly  act  of  John 
Raker,  in  taking  some  of  the  poor  chil- 
dren of  the  neighborhood  into  his 
home,  has  blossomed  into  the  Good 
Shepherd  Home  of  today.  With  a  ca- 
pacity of  200  persons,  the  home  now 
takes  grownups  as  well  as  children, 
and  it  makes  no  distinctions  as  to  race 
or  color.  Because  Somebody  Cares 
stresses  the  people  rather  than  the 
physical  plant,  and  the  home's  willing- 
ness to  help  any  and  all  is  made  clear 
in    the    narration    by   Lowell    Thomas. 

Roses  at  Home,  900  feet,  16mm.  silent, 
color;  produced  by  W.  H.  Mecom, 
Houston,  Texas. 

Offered  to:  groups,  especially  gar- 
den clubs. 

Available  from:  W.  H.  Mecom, 
Freeport  Sulphur  Company,  1412  Com- 
merce Building,  Houston,  Texas. 

Roses  at  Home,  filmed  in  the  country 
which  produces  one  third  of  America's 
rose  crop,  tells  in  an  interesting  man- 
ner the  complete  story  of  growing  rose- 
bushes, from  the  initial  planting  to  the 
many  attractive  uses  in  the  home.  Cul- 
tivation, fertilizing,  irrigation  and  dis- 
ease control  are  some  of  the  many  sub- 
jects that  are  touched  upon  in  this 
movie. 

Although  some  portions  are  quite 
technical,  necessitating  some  horticul- 
tural knowledge,  the  film  appeals  to 
anybody  who  likes  flowers. 

RECENT  RELEASES 

Modern  Rug  and  Carpet  Making,  550 

feet,  16mm.  sound  on  film,  black  and 
white  and  color;  produced  by  Audio 
Productions,  Inc.,  revised  by  Films  of 
Commerce  Company,  Inc. 

Offered  to:  high  school  and  adult 
groups. 

Available  from:  Films  of  Commerce 
Company,  Inc.,  21  West  46th  Street, 
New  York,  N.  Y. 

This  film  depicts  the  manufacture  of 
rugs  and  carpets  in  a  large  modern 
mill.  Every  phase  is  clearly  shown  and 
explained,  including  the  designing  of 
patterns  and  the  blending  and  match- 
ing of  colors  by  the  designers.  We  see 
methods  of  controlling  manufacturing 
processes  by  exacting  physical  and 
chemical  checks.  The  movie  concludes 
with  a  color  sequence  of  a  variety  of 
rugs  and  carpets  in  colors  and  patterns 
to  harmonize  with  walls,  draperies  and 
furnishings. 

Educator's  comment:  This  film  will 
be  found  very  useful  for  classes,  from 
about  4th  grade  through  high  school, 
that  are  studying  rug  making. — E.D.C. 


HOW  WE  CAN   SERVE 


THE  year  of  1942  brings  us  extraordinary  condi- 
tions. Things  that  we  have  believed  were  normal 
will  give  way  to  dislocations  of  almost  every 
phase  of  our  daily  lives.  We  shall  have  to  do  new 
things  and  to  refrain  from  doing  accustomed  things. 
Above  all,  we  shall  frequently  be  called  upon  to 
justify  our  actions  by  the  yardstick  of  war  prosecu- 
tion. If  what  we  want  to  do,  or  to  keep  from  doing, 
does  not  square  with  war  conditions,  it  is  entirely 
possible  that  we  may  have  to  make  it  square  or  give 
it  up. 

Movie  making  is  an  activity  that  can  perform  real 
service  in  time  of  war.  It  is  serving  the  armed 
forces  now;  it  is  being  used  in  industrial  training  for 
making  armaments;  it  has  been  used  to  some  extent 
in  training  for  civilian  defense.  The  kind  of  movies 
that  substandard  filmers  make  are  not  those  that 
serve  for  entertainment  and  the  presumed  upholding 
of  civilian  morale.  Our  pictures  are  much  more  di- 
rectly tied  into  the  processes  of  war,  if  they  are 
anything  else  than  private  and  personal  expressions 
of  a  hobby. 

If  personal  filming,  as  a  whole,  is  called  upon  to 
justify  itself,  this  justification  can  come  best  from 
thousands  of  individual  instances,  rather  than  from  a 
national  effort  organized  by  the  Amateur  Cinema 
League.  The  League,  of  course,  is  ready,  if  it  is  needed, 
and  its  headquarters  are  surveying  the  whole  field  of 
its  possible  service.  But  what  can  be  done  by  indi- 
vidual movie  makers  is  of  the  highest  importance  in 


building  up  an  impressive  total  of  help  given  in  many 
localities  and  brought  forth  by  local  conditions  and 
needs. 

Every  movie  maker  can  add  to  the  standing  of  our 
hobby,  in  the  war  effort  of  our  country,  if  he  will 
look  over  his  own  neighborhood,  to  discover  what 
opportunities  may  exist  for  him  to  aid  in  some  phase 
of  war  action.  If  a  large  industrial  concern  is  ac- 
tively engaged  in  armament  production,  it  almost 
certainly  has  a  local  plan  of  industrial  training,  into 
which  films  can  be  fitted.  The  local  officers  of  the 
civilian  defense  effort  are  making  bricks  without 
straw,  in  many  cases,  and  would  welcome  a  training 
film,  to  be  used  in  the  instruction  of  the  civil  popu- 
lation for  defense.  If  an  educational  institution  in 
your  neighborhood  has  defense  courses  or  is  training 
armament  workers,  it  could  use  motion  pictures.  It  is 
not  necessary  to  wait  for  a  complete  national  plan, 
if  you  are  willing  to  do  your  cinematographic  part 
in  the  service  of  the  nation.  Your  own  friends  and 
neighbors  who  are  involved  in  the  problem  can  tell 
you  what  they  want  and  need. 

If  you  find  it  possible  to  hunt  for  ways  in  which 
your  cine  camera  can  do  one  of  these  necessary  jobs, 
do  not  fail  to  let  the  headquarters  of  the  Amateur 
Cinema  League  know  what  you  are  doing,  so  that  we 
may  have  a  full  record  of  individual  instances  in 
which  personal  movies  have  aided  the  war  effort.  This 
information  may  be  of  very  real  value  to  the  cause 
of  amateur  movies  in  the  months  that  lie  ahead. 


The  AMATEUR  CINEMA  LEAGUE,  Inc. 

whose  voice  is  Movie  Makers,  is  the  international  or- 
ganization of  movie  amateurs,  founded  in  1926  and 
now  serving  filmers  in  many  countries.  The  League's 
consulting  services  advise  amateurs  on  plan  and  execu- 
tion of  their  films,  both  as  to  cinematographic  tech- 
nique and  continuity.  It  serves  amateur  motion  picture 


clubs  in  organization,  conduct  and  program  and  pro- 
vides for  them  a  film  exchange.  It  issues  booklets.  It 
maintains  various  special  services  for  members.  The 
League  completely  owns  and  operates  Movie  Makers. 
The  directors  listed  below  are  a  sufficient  warrant  of 
the  high  type  of  our  association.  Your  membership 
is  invited.  Five  dollars  a  year. 


Hiram    Percy    Maxim,    Founder 

DIRECTORS     OF     THE     LEAGUE 


STEPHEN  F.  VOORHEES,  President 

JOHN  V.  HANSEN,  Vice  President 

ETHELBERT    WARFIELD,     Treasurer 

C.   R.  DOOLEY 

MRS.   L.   S.   GALVIN 

H.  EARL  HOOVER    . 

HAROLD    E.    B.    SPEIGHT 

FLOYD    L.    VANDERPOEL 

T.    A.    WILLARD      . 

ROY  W.  WINTON,  Managing  Director 


.     New  York  City 

Washington,  D.  C. 

.     New  York  City 

.     New  York  City 

.  Lima,  Ohio 

Chicago,   111. 

.        Ithaca,  N.  Y. 

Litchfield,  Conn. 

Beverly  Hills,   Calif. 

.     New  York  City 


Address   all    inquiries   to 

AMATEUR  CINEMA  LEAGUE,  INC. 

420  LEXINGTON  AVE.,  NEW  YORK  CITY.  U.S.A. 

Amateur   Cinema    League   offices    are   open   from 
9:00  A.M.  to  5:00  P.M.,  Mondays  through  Fridays 


TO  MEMBERS  OF  THE 
AMATEUR  CINEMA  LEAGUE 


WAR  has  released  the  tremendous  energy  of  the  American  people. 
I  am  proud  to  tell  you  that,  following  at  once  upon  the  Japanese 
attack,  Amateur  Cinema  League  members  have  telephoned,  tele- 
graphed and  written  to  League  headquarters  to  find  out  what  we  movie  makers 
can  do  for  our  country. 

The  Amateur  Cinema  League  has  offered  its  services  to  our  government. 
When  official  replies  have  been  received,  we  shall  know  what  is  expected  from 
us.  But  we  need  not  wait.  Here  are  definite  things  that  we  can  do,  each  member 
in  his  own  town  and  city,  all  over  our  land. 


*  1.  CIVILIAN  DEFENSE.  Report  to  the  local  Office  of  Civilian  Defense 
that  you  are  willing  to  make  movies  and  to  project  movies.  If  you  belong  to  a 
movie  club,  urge  your  club  to  offer  its  services  as  a  unit.  Training  by  films  calls 
both  for  filmers  and  projectionists. 

*  2.  AMERICAN  RED  CROSS.  Tell  your  local  Red  Cross  officials,  and 
ask  your  movie  club  officers  to  tell  them,  that  you  can  make  and  show  movies,  to 
aid  Red  Cross  first  aid  training. 

*  3.  UNITED  SERVICE  ORGANIZATIONS.  If  there  is  a  U.S.O. 
club  in  your  community,  or  in  a  village  adjacent  to  it,  report  to  the  club  manager, 
telling  him  what  films  you  have  that  can  be  shown  in  his  club,  and  offer  to  project 
them.  Get  your  local  movie  club  in  touch  with  the  U.S.O.  club.  Arrange,  if  need 
be,  for  the  rental  of  good  substandard  library  films,  for  projection.  Suggest  the 
possibility  of  camp  newsreels,  to  be  made  by  your  movie  club,  for  showing  at 
the  U.S.O.  club. 


Here  are  concrete  ways  of  serving  the  country  at  once.  Do  not  fear  that  what 
you  offer  may  be  unacceptable.  It  is  better  to  offer  too  much  than  too  little. 

Follow  the  war  time  rules  for  filming,  that  are  printed  on  the  opposite  page. 

The  Amateur  Cinema  League  is  the  focal  center  of  personal  movie  war  effort. 
Ask  League  headquarters  for  the  help  that  you  need.  Get  League  advice  about 
your  film  plans  for  national  defense. 

Tell  headquarters  what  you  do,  because  we  need  a  complete  record  here. 

Watch  Movie  Makers  carefully  for  information  about  other  tasks  that  may 
be  assigned  to  us. 

Give  the  information  on  this  page  to  other  movie  makers,  so  that  we  all  may 
work  together  for  the  country.  Tell  them  to  keep  in  touch  with  the  Amateur 
Cinema  League. 

Our  members  are  capable  and  dependable.  They  have  something  that  the 
country  needs  now.  I  am  confident  that  they  will  do  their  full  part  in  our  great 
national  war  effort. 


10 


DECEMBER    9,    1941 


PRESIDENT 


11 


0 


JUST  eight  days  after  the  American  declaration  of  war  on 
Japan,  two  unsuspecting  movie  makers  in  Chicago  were  ar- 
rested by  the  city's  police  for  taking  pictures  of  a  cloud  of 
smoke  billowing  from  a  factory  chimney. 

The  trouble  was  that  the  smoke  poured  from  the  stacks  of  the 
big  South  Chicago  Steel  Mills,  a  plant  busily  engaged  with  war 
orders.  After  a  thoroughgoing  check  by  the  police,  the  two  movie 
makers  were  released.  But  their  experience  should  be  a  warning  to 
all  amateur  filmers.  In  the  absence  of  any  new  instructions  from 
Washington  since  the  declaration  of  war,  the  Amateur  Cinema 
League  recapitulates  herewith  the  regulations  of  all  movie  making 
and  photography,  so  far  announced  by  the  government. 

Without  specific  permission  from  the  responsible  officer  in 
charge,  still  picture  taking  and  movie  making  are  prohibited  of 
the  following  subjects: 


(1)  All  Army,  Navy  and  National  Guard  armories,  camps, 
bases,  yards  and  other  installations.  Although  a  reasonable 
amount  of  filming  had  been  allowed  at  draft  camps  previous 
to  the  declaration  of  war,  it  is  reasonable  to  suppose  that  this 
activity  will  be  further  restricted. 

(2)  All  Federal  government  buildings  of  any  kind,  including 
office  buildings  and  post  offices.  It  seems  probable  that  this  re- 
striction will  be  extended  in  key  cities  to  municipal  buildings,  as 
well,  especially  those  housing  the  Police  and  Fire  Departments. 

(3)  All  railroad  stations,  trains  and  other  railroad  property, 
and  all  other  public  utilities,  such  as  electric  power  plants  and 
lines,  gas  works  and  storage  tanks,  water  supply  reservoirs,  dams 
and  conduits. 


(4)    All  airports  and  air  installations,  whether  commercial  or 
military  in  character. 


Things  patriotic 
movie  makers  must 
observe  in  their 
current    filming 


(5)  All  docks,  bridges,  canals,  shipyards  and  waterfront  in- 
stallations of  any  kind. 

(6)  All  industrial  plants  of  whatever  kind  or  size  which  are 
executing  orders  for  national  defense.  The  unsuspecting  filmer 
should  be  especially  careful  about  subjects  that  might  be  included 
in  this  category,  since  it  is  often  difficult  to  know  if  this  condition 
obtains  at  a  given  manufacturing  plant.  It  is  far  better  to  ask 
first  than  to  be  sorry  afterward. 


In  the  face  of  these  restrictions,  it  may  seem  that  there  is  little, 
if  anything,  left  to  the  personal  filmer  who  is  eager  to  aid  his 
countrv  with  his  camera.  This  is  is  not  the  case.  The  entirely  rea- 
sonable rulings  just  outlined  apply  to  unsponsored  and  unau- 
thorized picture  making.  If  and  when  you  persuade  the  proper 
authorities  that  your  filming  ability  can  be  of  aid  to  them,  the 
needed  permission  for  pictures  will  follow. 


12 


Gratnli0" 


ideal  scene  to  sy 


13 


How  to  make  a  record  of 
winter's  exciting  sport 


LJANDS  down  candidate  for  "viewer  of  most  ski  films 
■  '  in  existence"  (and  expert  maker  of  schuss  movies 
himself)  says  goodbye  to  millions  of  Americans  five 
nights  a  week  with  his  familiar  " — and — -So  Long — until 
tomorrow."  In  fact,  next  to  his  position  at  a  microphone, 
the  most  likely  place  to  find  him  is  in  front  of  a  screen — 
one  that  has  his,  or  anybody's,  ski  movie  on  it. 

"I've  seen  most  of  the  best — and  too  many  of  the  worst 
ski  movies,"  says  Lowell  Thomas,  ACL,  "but  I  always 
assume  that  their  primary  object  is  to  entertain.  And 
ever  since  Cro-Magnon  man  and  the  Neanderthal  crea- 
ture cooked  up  schemes  of  entertainment,  there  has  been 
one  fundamental  rule — variety.  Ski  films  can  be  awfully 
monotonous.  In  this  connection,  I'd  even  include  a  great 
many  closeups,  as  well  as  long  shots,  and  a  wide  variety 
of  spectacular  scenery." 

He  paused,  thinking  of  the  more  successful  ski  films 
that  he  has  seen.  "There  are  other  things  that  I'd  like  to 
see.  Plenty  of  action,  and  by  that  I  mean  first  class  skiing. 
Perfect  exposure  and  all  sorts  of  angles,  of  course.  And 
human  interest  punched  up  with  plenty  of  laughs." 

Not  many  would  argue  with  Lowell  Thomas's  conclu- 
sions. But  most  of  us  would  like  to  inquire  meekly  just 
how  we  can  produce  a  ski  opus  with  "first  class"  action, 
"spectacular"  scenery,  laughs  and  that  very  evasive  little 
item — human  interest.  It  is  a  stumper  all  right,  taken  all 
together;  but,  perhaps  if  we  break  up  each  piece  of  this 
vital  "variety"  and  look  at  each  of  the  fragments  sep- 
arately, they  will  not  seem  so  tough  after  all. 

Action 

Action  we  must  have.  The  very  verb,  "to  ski,"  may 
mean,  to  some  of  us,  "to  spill";  but,  to  most  of  us,  it 
means  speed.  That  is  where  the  trouble  lies.  The  faster 
the  action,  the  harder  it  is  to  catch  with  a  camera,  and 
that  is  where  choice  of  viewpoint  comes  in.  In  general, 
pick  a  shooting  spot  below  and  at  one  side  of  the  trail, 
and  you  will  have  this  problem  licked  more  than  half- 
way. If  the  spot  is  also  just  below  a  tricky  turn,  where 
the  skiers  will  have  to  stem,  your  shot  will  tell  the  whole 
story — except  how  frozen  you  were  when  you  were  wait- 
ing for  the  actors. 

For  action  in  your  long  shots,  get  on  a  hill  that  is 
opposite  a  practice  slope.  Then  press  the  button  when 
a  goodly  number  of  people  are  speeding  downward,  or, 


BENJAMIN     F.     FARBER,     jr.,     ACL 

better  yet,  when  your  better  skiing  subjects  send  up 
sprays  of  snow  while  they  stem  down  the  hill  in  a  pre- 
arranged pattern.  The  scene  will  be  better  if  those  on 
the  sides  sweep  in  front  of  the  victim  in  the  middle  when 
they  are  just  halfway  down.  It  is  even  easier  to  stage  a 
grand  opening  shot,  by  directing  your  friends  to  ski 
straight  toward  the  camera,  down  a  gentle  incline,  and 
then  to  pass  over  it  by  spreading  their  legs  wide  apart. 
(This  shot  is  really  worth  the  wetting  you  may  get  from 
lying  flat  on  the  snow,  but  be  careful  that  these  experts 
don't  flip  a  pole  in  your  face  or  a  shower  of  snow  on 
your  lens  as  they  pass  over.  A  clever  thought,  indeed,  but 
worth  a  warning!) 

For  more  spectacular  action,  the  conditions  naturally 
become  exacting.  As  one  instance,  find  a  head  wall,  below 
or  right  beside  which  you  can  crouch,  and  shoot  the 
downhill  racers  as  they  swoop  over.  Faster  camera  speeds 
will  help  to  slow  down  this  terrific  action,  but,  above  all 
else,  you  must  remember  to  keep  out  of  the  skier's  way. 
A  simpler  location  from  which  to  record  good  skiing 
is  on  the  top  of  a  slight  rise  that  occurs  just  at  the  base  of 
a  long  hill.  There  the  man  on  runners  will  usually  have 
enough  momentum  to  send  him  flying  into  the  air  at  the 
top  of  the  bump  and — unless  he  is  a  wizard  at  shifting 
his  weight  quickly — down  to  earth  again  in  a  perfect  two 
point  landing — on  the  rear  tips  of  his  skis.  Fun ! 

Have  you  ever  filmed  fast  action  on  a  steep  hill  and 
then  have  you  later  seen  it  on  the  screen,  looking  for  all 
the  world  like  strangely  animated  skiing  on  a  flat  white 
plain?  You  have  got  to  get  some  perspective  that  shows 
the  slant  of  the  ground,  and  that  calls  for  a  side  angle, 
with  the  camera  close  to  the  ground  and  level.  Then  the 
top  of  the  hill  will  be  near  the  top  right  corner  in  your 
viewer  and  the  bottom  will  be  close  to  the  lower  left 
corner.  From  this  viewpoint,  get  your  Telemarks  and 
Christianias;  tilt  upward  to  catch  the  skier  as  he  hurtles 
downward  and  then  train  the  camera  steadily  on  the 
skier,  as  he  swivels  his  hips  one  way  and  shoots  toward 
you.  Then  have  him  do  an  opposite  swivel  and  dart 
downward  again.  That  is  how  to  get  those  "unbeliev- 
ables,"  too — those  back  lighted,  silhouette  shots  with 
the  snow  spraying  all  over  the  place.  Try  them  sometime, 
especially  if  you  have  a  slight  drop  right  alongside  the 
edge  of  the  slope.  Then  you  can  actually  get  below  the 
skier,  to  show  the  slant  of  the      [Continued  on  page  28] 


^ke/i&i 


in 


tiMed 


14 


Solving  caption  problems  is  an  absorbing  job 


THERE  couldn't  be  more  fun !  Take  hours — take  days- 
take  weeks;  or  do  as  I  do  and  have  the  subject  always 
on  your  mind.  Then  complete  your  home  movies  with 
your  own  titles.  Life  will  open  new  horizons. 

There  is  something  about  the  glint  of  black  lengths  of 
shining  film  that  excites  my  imagination  and  makes  my 


Photographs   by   Elaine 
Carlson  Westby,  A~~ 


fingers  itch.  Take  last  Feb- 


The  glint  of  black  lengths  of  film   excites 
my  imagination. 


ruary.  It  is  true  that  I  had 
just  booted  the  "flu"  out  the 
window  and  was  only  shak- 
ily resuming  a  normal  life. 
Titling   an   accumulation   of 
4000    feet    of    chronological 
baby  history  seemed  a  tame 
enough  activity  for  a  conva- 
lescent. But  I  found  it  as  ex- 
citing as  anything  could  be. 
Titles?     Easy!     I    had    a 
titler,    the    flood   bulbs   that 
were    required    and   instruc- 
tions with  the  titler.  I  had  a  typewriter  with  which  to 
type  my  words,  and,  if  something  less  stereotyped  were 
desired,  I  knew  that  I  could  letter  by  hand  and  obtain 

results    slightly    better    than 
impossible;   so  I  started. 

First  I  printed  the  words 
on  a  title  and  then,  following 
directions,  I  finished  a  few 
captions.  Then  I  began  to 
paste  cutouts  on  some  of  the 
cards.  The  ideas  started  com- 
ing, and,  from  then  on,  I 
performed  unbelievable  an- 
tics on  the  small  rectangular 
space. 

I  needed  a  Christmas  back- 
ground for  one  title.  Where 
better     could     I     find     one 
than  on  a  Christmas  card?  Harken,  ye  titlers!  Save  your 
Christmas  cards  now  and  forever.  They  are  rich  in  pos- 
sibilities. 

I  found  one  that  I  wanted. 
I  cut  it  the  size  called  for  in 
the  instructions  and  pasted 
it  on  the  title  card.  From  a 
small  calendar  I  cut  the  num- 
bers 1,  9,  3.  7.  Ah!  an  idea. 
I  glued  that  "1"  in  its 
proper  place.  I  filmed  a  few 
frames.  I  glued  the  "9"  in 
place.  I  exposed  a  few  more 
frames.  The  "3"  and  the  "7" 
Print  the  title  on  a  long  slip  of  paper  l  treated  in  like  manner,  and 
and  draw  it  slowly  through  the  titler,  lo!  and  behold!  an  animated 
using    whatever    background    you    desire.         19  3  7  jumps  upon  the  snow 


I    gathered   all   my   equipment  together — 


ELAINE     CARLSON     WESTBY,     ACL 

covered  roof  of  a  red  barn.  Titles?  Easy!  And  fun! 

I  had  a  scene  showing  the  first  steps  of  a  baby — the 
halting,  stumbling,  exciting  first  steps.  How  could  I  do 
justice  to  such  a  momentous  shot?  Another  Christmas 
card  had  a  baby  chick  dressed  as  Santa  Claus,  wearing 
bright  green  bootees. 

Bootees!  I  had  it!  "Judy,  March  1938"  I  printed.  This 
wording  would  appear  first;  then,  across  the  screen,  the 
bootees  would  walk  in  baby  steps,  all  by  themselves.  First 
I  filmed  the  wording,  Judy,  March  1938,  alone,  while  I 
read  it  through  twice  aloud.  Then  I  stopped  the  camera 
and  pasted  one  paper  cutout  of  a  bootee  in  place  near 
one  side  of  the  card.  (I  used  rubber  cement.)  Then  I  ex- 
posed a  few  frames  and,  next,  I  pasted  the  cutout  of  the 
second  bootee  in  front  of  the  first  and  took  a  few  more 
frames.  Then  I  lifted  the  first  cutout  (cement  still  wet) 
and  stuck  it  ahead  of  the  second  and  rubbed  the  cement 

off    the   card    on 
the     spot     where 
the    bootee     had 
been.   I   filmed  a 
few  more  frames. 
Get   the   idea?    I 
walked  the  boot- 
ees, step  by  step, 
across  the  square 
and  then  exposed 
just   a    bit   more 
film  after  the  last 
bootee   had   van- 
ished. Eureka! 
Animation  is 
easy  for  me  now.  I  print  one  letter  at  a  time,  using  Crayo- 
las  or  cutout  letters,  or  I  cut  a  card  into  a  jigsaw  puzzle 
and  add  a  little  between  each  click. 

Another  very 
simple  idea  is  to 
print  the  title  on 
a  long  slip  of  pa- 
per and  to  draw 
it  slowly  through 
the  titler,  using 
whatever  back- 
ground you  de- 
sire. Read  the 
title  aloud  as  you 
pull  it  through, 
and  the  timing 
will  be  just  right. 
I  came  to  a  swimming  pool  sequence,  with  shots  of 
water  and  swimmers.  I  threw  a  royal  blue  beach  towel 
over  the  back  of  a  chair,  so  that  the  edge  just  touched  the 
floor.  I  took  a  heavy  mirror  from  the  wall  and  placed  it 
on  the  floor  in  front  of  the  towel.  Using  a  small  block. 
I  tilted  the  mirror  slightly  to-      [Continued  on  page  36] 


Not    a    word    is    printed,    yet    everybody 
knows  that  Easter   pictures  follow. 


I  took  a   panoramic  view  of  a  lake  scene, 
using  my  homemade  stage  set. 


Photographs 


Tom  Griberg,  ACL 


V 


.Above,      materials 
construction    details    for    • 
homemade      tripod      dolly. 
Bt  left,  completed   dolly   .n 


15 


Specifications    and    ways 
to  build  a  cine  accessory 

TOM     GRIBERG,     ACL 

HEN  a  shooting  script  in  Hollywood  calls  for  a  trucking  shot, 
a  ponderous  camera  crane  swings  into  action.  When  the  ama- 
teur movie  maker's  script  calls  for  a  similar  scene,  he  must  usually 
resort  to  Sister's  baby  carriage  or  Brother's  coaster  wagon,  to  carry 
his  camera. 

Should  the  scenario  in  Hollywood  demand  a  new  camera  view- 
point, the  large  wheeled  camera  dolly  rolls  smoothly  into  the  new 
camera  position.  The  amateur,  on  the  other  hand,  must  carry  his 
camera  to  the  new  position  and  then  must  carefully  reset  the  tripod 
legs. 

But  the  amateur  movie  maker  need  not  suffer  these  limitations.  At 
a  cost  of  less  than  a  dollar  for  material  and  a  few  hours'  work  with 
simple  tools,  found  in  any  home  workshop,  he  can  supply  himself 
with  a  tripod  dolly  which,  in  addition  to  making  trucking  shots  a 
simple  matter,  will  allow  him  to  roll  the  camera  over  any  smooth, 
level  surface,  thereby  giving  him  the  flexibility  of  a  hand  held  camera 
with  the  steadiness  of  a  tripod.  (See  the  illustration  below,  on  this 
page.)  Finally,  when  the  day's  filming  is  completed,  the  dolly  can 
be  folded  to  about  the  same  size  as  that  of  a  good  tripod. 

The  body  of  the  dolly  is  made  from  a  five  foot  piece  of  one  and 
an  eighth  by  one  and  three  quarter  inch  screen  sash,  which  can  be 
procured  at  any  lumber  yard.  The  remainder  of  the  material  can  be 
found  at  the  nearest  five  and  ten  cent  store  (Fig.  1) . 

The  material  list: 

3  casters  with  large  rubber  wheels  (not  less  than  2  in.  in  diameter) . 

3  metal  sleeves  for  the  casters. 

3  No.  12  thimbles  (optional). 
1  \Vo,  in.  square  hinge. 

4  %  hi.  flat  head  screws,  to  fit  the  hinge. 
1  large  screen  door  hook  with  screw  eye. 
1  extra  screw  eye. 

1  small  can  varnish  stain   (optional). 
From  the  five  foot  piece  of  screen  sash,  cut  two  pieces  of  wood. 

One  should  be  exactly  thirty  inches  and  the  other  exactly  twenty  four 
and  one  quarter  inches  in  length.  For  the  sake  of  appearance,  the 
two  ends  of  the  long  piece  and  one  end  of  the  short  piece  can  be 
The  remaining  end  of  the  short  piece,  however,  must  be  perfectly  square. 
Drill  a  hole,  three  quarters  of  an  inch  from  each  end  of  the  long  piece  and  three 
quarters  of  an  inch  from  the  rounded  end  of  the  short  piece,  to  fit  the  caster  sleeves 
(Fig.  1).  Drill  these  holes  on  what  is  to  be  the  bottom  of  the  dolly.  Then,  one  and  a 
half  inches  from  the  same  ends,  drill  three  similar  holes,  fifteen  sixteenths  of  an 
inch  in  diameter  and  one  inch  deep  on  the  top  side  of  the  wood.  These  holes  are  to 
accommodate  the  tripod  legs.  If  the  dolly  is  to  be  varnished  or  painted,  that  job 
should  be  done  at  this  point. 

After  the  wooden  parts  have  been  painted,  screw  the  hinge  to  one  side  of  the  square 
end  of  the  short  piece.  Then  screw  the  hinge  to  the  center  of  one  side  of  the  thirty- 
inch  piece,  to  form  a  T  (Fig.  3).  Next,  screw  the  screen  door  hook  in  position,  to 
hold  the  leg  of  the  T  perfectly  rigid  when  the  dolly  is  in  use  (Fig.  3) .  The  extra  screw 
eye  should  be  placed  on  the  long  piece,  to  serve  as  a  place  to  which  the  hook  can  be 
attached  when  the  dolly  is  folded. 

Insert  the  three  caster  sleeves  into  their  respective  holes.  Cement  them  in  place 
if  necessary.  Slip  the  casters  into  their  sleeves,  and  the  tripod  dolly  is  ready  for  use 
(Fig.  2).  If  desired,  the  holes  which  are  to  accommodate  the      [Continued  on  page  32] 


ided. 


•        r,\PSt    lighting 

'Cited  bulb,  P^TtotinaUo" 

bull,  to  *«  ««««»      k  o£  course  « 
back  o(  *e  cV""r\.miu.  The  small  P"= 

Kodachrome  stiox 

this  setup- 


{or  color  film- 
T     i;„ht  a  semi  closeup  * o  win 

t'ln^xpe-ive    bu *         *    ti 

Jc  No  1  fl°od  b         lu  naturalness 
ft  iu  tte  floor  lamp  *^f  reflectois 
fV    ceue.  Note  thtf    he    ^  ^ 
e  tipped  downward,  so  th  ^^ 

are  tipt>        ,    w    as    ^eu 
illuminate    darker 

areas. 


Here    .t.l.e'rf^^iatroVto- 

Sit   and  a»odvT,  blue  9ood  bulbs. 

S*  «-  2mtl  traded  **  -* 

«"d  *e„rCTe  uU    Kod.chrome     The 

door,    or    i  e.  d      the 

combination      pr°  laTgement   Note 


16 


be  sure  w  cu 


17 


^  lighting  was 

contains  a  r\°-         ,     lield  by  trie  y 
cents  trie  u= 


■w 


photo: 


:raphs  by  lames 


iff   Moore 


ACL 


,  , Wet  reflected  in  a 
A  close  shot  oi  a  subject  ^  ^ 
A  ;B    a   favorite   a^1  one 

Sf  2  flood  b»ib  >»  •  fttmi  nmn 

subject  to  mntor 
camera. 


18 


PRACTICAL  FILMS 


•  Frames  from  "Because 
Somebody  Cares,"  pro- 
duced   by  Willard  Pictures. 


35mm.  scenes  by  Willard 

Pictures 

. 

L^« 

^ 

/ 

l 

Willard's  Latest 

Willard  Pictures,  of  New  York  City, 
have  finished  recently  a  400  foot  sound 
film  of  the  Good  Shepherd  Home,  in 
Allentown,  Pa.  Stressing  the  people  in 
the  Home,  rather  than  the  physical  plant, 
the  movie  will  be  used  within  their  or- 
ganization and  also  will  be  distributed 
free  of  charge — see  the  Free  Films  page 
in  this  number,  for  complete  details. 
Willard  also  filmed  a  trailer,  which  adds 
a  direct  appeal  and  which  may  be  used 
with  the  film.  The  camera  work  was 
done  by  T.  W.  Willard,  ACL;  Robert 
T.  Furman  directed  and  wrote  the  script ; 
and  Lowell  Thomas,  ACL,  is  the  narra- 
tor. The  flash  back  method  is  used  here; 
Mr.  Thomas  finishes  his  broadcast  and 
turns  to  the  audience,  to  tell  them  about 
the  Good  Shepherd  Home. 

Camp  Record 

Dr.  A.  R.  Lawrence  filmed,  in  250  feet 
of  8mm.  Kodachrome,  the  thirty  third 
annual  summer  camping  trip  of  the 
Boys'  Brigade,  sponsored  by  the  Pomo- 
na (Calif.)  Pilgrim  Congregational 
Church.  A  group  of  fifty  five  boys  and 
four  officers  camped  for  a  week  in  the 
newly  opened  King's  Canyon  National 
Park.  Dr.  Lawrence  writes  that  the  film 
aims  to  be  "a  valuable  record  of  the 
boys  and  the  camp,  as  well  as  entertain- 
ment for  our  church  groups  and  organi- 
zations interested  in  boys'  work."  Al- 
though there  are  many  scenic  shots,  Dr. 
Lawrence  took  care  to  emphasize  the 
boys  throughout  the  film. 

Film  for  Four  A's 

Under  the  title,  America  and  Adver- 
tising, Time,  Inc.,  through  the  facilities 
of  the  March  of  Time,  produced  a  35mm. 
sound  film  for  the  recent  convention  at 
Hot  Springs,  Va.,  of  the  Association  of 
National  Advertisers  and  the  American 
Association  of  Advertising  Agencies. 
The  program  consisted  of  the  motion 
picture,  interspersed  with  three  or  four 
brief  speeches.  Opening  with  scenes  of 
the  compact,  small  scale  economy  of  the 


The  non  theatrical  movie  as 
used  for  various  purposes 

GORDON     L.     HOUGH 

Old  World,  the  film  shows  how  the  dis- 
covery and  settling  of  America  widened 
markets  tremendously  and  necessitated 
world  wide  information  of  products. 
This  was  the  task  fulfilled  by  advertis- 
ing, which  has  become  one  of  the  main 
factors  in  maintaining  our  high  stand- 
ard of  living.  After  the  war  is  over,  the 
film  points  out,  advertising  must  carry 
abroad  the  American  way  of  life  which 
is  the  envy  of  the  world. 

Many  of  the  scenes  were  taken  from 
the  March  of  Time's  library;  some  were 
shot  expressly  for  the  film,  while  some 
footage  came  from  other  commercial 
producers.  Richard  deRochemont  wrote 
the  script  and  edited  the  film,  Charles 
Gilson  did  the  new  camera  work  and 
Westbrook  Van  Voorhis  was  the  narra- 
tor. 

First  CAVEA  Meeting 

At  its  first  meeting  of  the  school  year, 
on  October  18,  the  Connecticut  Audio 
Visual  Education  Association  gathered 
at  Stafford  High  School,  Stafford,  Conn. 
The  principal  speaker  was  Paul  D.  Col- 
lier, State  supervisor  of  secondary  edu- 
cation, who  gave  an  analysis  of  audio 
visual  activities  throughout  the  State, 
pleading  for  an  increased  film  budget 
for  schools.  J.  L.  Senechal,  of  Stafford 
High  School,  spoke  on  program  organi- 
zation, and,  in  the  afternoon,  Dr.  A. 
Croteau,  of  the  University  of  Connec- 
ticut, gave  a  demonstration  of  broad- 
casting  technique   for   language   study. 

Highway  Safety  Film 

S.  Howe  Williams,  of  Richmond,  Va., 
has  completed  a  1200  foot,  16mm.  sound 
film  in  Kodachrome  for  the  Common- 
wealth of  Virginia,  Department  of  Motor 
Vehicles,  called  The  Virginia  Trooper. 
Describing  the  training  of  a  State  troop- 
er and  outlining  his  numerous  duties  on 
the  highway,  the  movie  pleads  for  co- 
operation of  drivers  and  pedestrians 
alike.  A  railroad  engineer,  in  his  obser- 
vance of  safety  measures  and  response 
[Continued  on  page  36] 


19 


If 


Films  serve  book  centers 
in   variety   of   situations 

GERALD     D.     McDONALD 

OVER  thirty  years  ago,  before  his  community  had  a 
motion  picture  theatre,  an  enterprising  librarian 
bought  a  projector  and  began  to  show  films  at  schools 
and  at  club  meetings.  Since  then,  in  isolated  instances, 
the  motion  picture  and  the  library  have  carried  on  a 
modest,  hesitant  flirtation.  The  most  familiar  evidence 
of  the  attachment  has  been  in  library  exhibitions  and  in 
lists  of  outstanding  films. 

But  a  more  significant  development  can  be  found  in 
the  increased  interest  shown  by  all  types  of  libraries  in 
non  theatrical  films.  When  educational  films  first  began 
to  appear  in  16mm.,  and  when  the  portable  16mm.  pro- 
jector became  standard  for  classroom  use,  school  libraries 
were  occasionally — but  not  often — asked  to  take  charge 
of  films  and  equipment  that  were  owned  by  the  schools. 
Today,  not  only  a  considerable  number  of  school  li- 
braries, but  also  two  public  libraries,  one  county  library, 
one  regional  library  and  one  State  library,  own  films 
which  they  circulate  much  as  they  do  books.  Other  li- 
braries, in  their  adult  education  activities,  have  borrowed 
films  or  have  assisted  in  planning  film  programs. 

For  the  duration  of  the  present  war,  public  libraries 
in  Great  Britain  have  been  lent  100  projectors  by  the 
Ministry  of  Information.  Acting  as  community  intelli- 
gence centers,  they  show  the  short  films  which  have  been 
made  to  inform  and  to  strengthen  the  morale  of  the  British 
people.  In  this  country,  a  somewhat  similar  activity  is 
under  way.  Several  libraries  are  planning  to  show  a 
series  of  educational  and  "documentary"  films.  These 
film  forums,  devoted  to  the  subject,  What  We  Are  De- 
fending, will  serve  as  a  basis  for  discussion  and  study  of 
timely  problems. 


A  library's  ability  to  serve  its  community  depends  on 
how  well  people  know  what  the  library  has  to  offer.  Be- 
cause of  this  necessity  to  tell  its  story,  some  libraries 
have  produced  films.  Many  of  them  have  given  a  general 
picture  of  library  service  or  have  illustrated  how  to  use 
the  library.  Others  have  attempted  to  win  public  support 
for  better  appropriations.  It  is  not  surprising  that  the 
first  library  films  were  made  in  California,  but  it  is  re- 
markable that  this  event  happened  as  early  as  1915.  Since 
that  time,  and  especially  in  the  past  two  years,  the  library 
has  lost  its  camera  shyness. 

So  many  libraries  have  made  films  that  a  skit  was 
recently  written,  satirizing  the  library  of  tomorrow,  when 
the  applicant  for  a  library  position  is  no  longer  asked  if 
she  is  trained  in  book  service.  She  need  not  know  how 
to  read,  for  that  matter,  if  she  turns  out  to  be  "photo- 
genic"! 

An  interesting  library  film,  Portrait  of  a  Library,  was 
made  in  1940  by  the  Montclair  (N.  J.)  Public  Library, 
on  a  grant  from  the  Agnes  Osborne  Fund.  This  fund,  to 
spread  international  understanding,  was  employed  in  the 
film  to  show  people  in  other  countries  what  an  American 
public  library  is  like  and  what  sort  of  feeling  a  com- 
munity    has     for     its     library.       [Continued  on  page  31] 


20 


•  Left,  arranging  screen  and 
amplifiers  for  Minneapolis  Cine 
Club's  Spring  Show.  Right,  com- 
mittee scoring  film  for  presen- 
tation. 


H  cum  tlwuvL  iU>  wjQaJz 

How  an  amateur  body  gave  large  public  screenings 


IF  YOU  think  that  planning  a  home  movie  screening  for 
your  friends  is  a  time  consuming  and  exacting  job,  how 
would  you  like  to  arrange  a  two  hour,  16mm.  program 
for  a  diversified  downtown  audience  of  more  than  600 
persons?  It  took  efficient  Spring  Show  committee  mem- 
bers of  the  Minneapolis  Cine  Club  just  five  months  of 
hard  work  to  "put  across"  their  most  recent  16mm.  Movie 
Party,  fourth  in  the  series  of  annual  affairs  and  probably 
best  attended  of  any  club  party  of  its  kind  in  the  country. 
Now,  how  does  the  local  club,  a  stag  organization  of 
seventy  five  members,  carry  out  its  unique  programming 
experiment  without  a  hitch?  The  answer  is  perfect  co- 
operation and  coordination  by  delegation  of  definite  tasks 
among  the  membership. 

Selecting    Committees 

In  order  to  put  the  club's  vicepresidents  actively  to 
work,  the  first  vicepresident  automatically  becomes  Spring 
Show  chairman,  and  he  names  the  heads  of  the  various 
committees  —  film  selection,  editing,  sound,  projection, 
stage,  publicity,  tickets,  finance,  ushers  and  reception. 
The  date  and  place  of 
showing  are  designated 
well  in  advance. 

The    second    vicepresi- 


ORMAL     I.     SPRUNGMAN,     ACL 

dent,  who  customarily  plans  the  club's  monthly  programs, 
utilizes  his  fellow  workers  as  a  film  selection  committee. 
Early  in  January,  all  film  of  merit  that  was  screened  be- 
fore club  meetings  during  preceding  months  is  called  in, 
and  an  appeal  is  made  to  others  to  produce  "top  notch'' 
footage  for  possible  use.  Each  member  of  the  film  selec- 
tion committee  personally  sees  a  dozen  or  more  members 
of  the  club  in  his  search  for  the  best  available  material. 

Choosing   the   Film 

During  the  winter  months,  this  group  meets  frequently 
to  screen  offerings,  which  are  then  either  tentatively  ac- 
cepted or  definitely  rejected.  No  final  judgment  is  passed 
until  a  month  before  the  showing.  Since  the  club's  most 
active  movie  makers  are  usually  entirely  too  well  repre- 
sented, every  effort  is  made  to  include  the  work  of  lesser 
known  members.  Because  of  the  large  screen  size  (usually 
seven  by  nine  or  eight  by  ten  feet),  only  16mm.  films  are 
eligible.  However,  8mm  movie  makers  can  participate,  by 
using  borrowed  16mm.  equipment  and  by  going  out  on 
special  assignments.  Last  fall,  the  local  club  even  put  on 
its  first  exclusively  8mm. 
Annual  Show. 

The   Minneapolis    Cine 

[Continued  on  page  28] 


•  Behind  the  scenes  at  recent 
Spring  Show  of  Minneapolis 
Cine  Club.  Ralph  Sprungman 
is  at  the  projector;  Harold 
Sandeen  (left)  and  Bill  Weber 
are  stage  electricians  shown  in 
the  center  picture  and  George 
Culbertson  is  operating  the 
dual  turntable. 


21 


•  Members  and  guests 
of  Wichita  (Kans.)  Ama- 
teur Movie  Club  on  re- 
cent outing. 


Mrs.  Martin  Lentz 


AMATEUR  CLUBS 


^rV.S.A.C.  dines  Several  hundred  members  and  guests 
of  the  Washington  Society  of  Amateur 
Cinematographers,  ACL,  gathered  recently  in  the  Studio  of 
the  Fairfax  Hotel,  for  that  group's  annual  dinner  meeting. 
John  T.  Chedester,  president,  was  in  charge  of  the  ceremo- 
nies, and  he  introduced  William  McConnell,  ACL,  and  Wil- 
liam J.  Brown,  ACL,  as  guests  of  honor  from  the  Washington 
8mm.  Movie  Club.  Seen  on  the  club's  screen,  following  the 
dinner,  were  Florida,  by  Mr.  Kelly  of  the  8mm.  unit; 
Chromatic.  Rhapsody,  from  the  League's  Club  Library; 
Western  Dream,  by  T.  A.  Vlier,  official  projectionist  for 
W.S.A.C.  At  a  later  regular  meeting,  the  club  heard  from 
Richard  C.  Green,  cinematographer  for  The  March  of  Time; 
from  Marion  Belknap,  on  Exposure  of  Kodachrome  by 
Indirect  Lighting;  and  saw  Florida,  Fountain  of  Youth,  by 
Edward  Cross. 

Albany  awards  Fourteen  films  were  entered  by  mem- 
bers of  the  Amateur  Motion  Picture 
Society,  ACL,  of  Albany,  N.  Y.,  in  that  group's  recent  first 
annual  contest,  with  awards  going  to  the  first  seven  place 
winners.  These  were,  in  order:  Good  Old  Summertime,  by 
Arthur  O'Keefe;  Gift  For  The  Graduate,  by  John  Ronan. 
ACL;  New  York  World's  Fair,  by  Dr.  Irving  Vies;  High- 
lights of  1941,  by  H.  Morgan  Gates,  ACL;  Trip  Around 
New  York,  by  James  Foley;  Snapshots,  by  Jack  Taylor,  and 
Heaven  Protect  The  Working  Girl,  by  Arthur  Kemnitzer, 
tied.  The  contest  was  judged  by  the  consulting  staff  of  the 
Amateur  Cinema  League.  Members  of  the  Albany  club  have 
heard  the  first  two  lectures  of  a  winter  series  planned  for  the 


What  organized  groups 
are  doing  everywhere 

JAMES    W.    MOORE,    ACL 

group — Light  and  Lenses,  by  Dr.  Vies,  and  Sound  For  Your 
Films,  by  Carl  Mattison,  of  Station  WOKO-WABY. 

New      York      entertains      Members   and   guests   of   the 

Metropolitan  Motion  Picture 
Club,  in  New  York  City,  met  the  week  before  Christmas  at 
the  city's  Master  Institute  Theatre,  for  a  holiday  program  of 
outstanding  film  fare.  Seen  on  the  club's  screen  were  //  You 
Went  To  The  Fair,  by  Kenneth  F.  Space,  ACL,  the  League's 
technical  consultant;  Sternwheeler  Odyssey,  by  Sidney 
Moritz.  ACL;  Pinch  Hitter,  by  C.  J.  Carbonaro,  ACL; 
Wolf  Bait,  a  novelty  employing  both  stage  and  screen,  di- 
rected by  George  A.  Ward;  Eclipse  Over  Peru,  by  Charles 
Coles,  ACL.  and  Robert  M.  Coles,  ACL;  A  Christmas  Fan- 
tasy, by  Leo  J.  Heffernan.  ACL;  Western  Wild  Life,  by 
Frank  E.  Gunnell,  ACL. 

Tulsa  Contest  The  Tulsa  Am-Mo  Club,  meeting  in  new 
quarters  at  the  East  Side  Public  Library, 
screened  the  award  winning  films  of  the  group's  recent  an- 
nual contest,  concluded  in  November.  First  prize  and  a  gold 
engraved    trophy   went    to    R.    C.       [Continued  on  page  39] 


The  fifth  annual  picnic  of  the  Los  Angeles  8mm.  Club  at  Griffith   Park  in   Los  Angeles 


y£   six 

*  i'X;-V 


to  the  makers  of  the  "Ten  Best,"  and  to  those  who  rec 
Honorable  Mention — congratulations  on  the  successfu 
elusion  of  the  1941  contest  of  Movie  Makers  Ten 
Non-Theatrical  Films. 

In  the  belief  that  readers  will  be  interested  in  learni 
the  film  and  equipment  used  by  the  winning  conte 
the  following  listing  has  been  prepared.  Eastman  cai 
are  identified  by  the  symbol  B  ...  the  type  of  film  is 
in  italics.  As  you  will  see,  of  the  "Ten  Best"  films,  nine 
made  with  Cine-Kodaks  .  .  .  all  were  made  on  Kodacl 
Film.  Of  the  fifteen  films  in  the  Honorable  Mention  g 
twelve  were  made  with  Cine-Kodaks;  thirteen  were 
on  Kodachrome  Film. 

Con  gra  tula  tion  s  ■ 


THE 

HIRAM  PERCY  MAXIM 

MEMORIAL  AWARD 

"Hail,  British  Columbia!" 
Mr.  Leo  J.  Heffernan 

New  York  City 
16-mm.  Kodachrome 


TEN  BEST— GENERAL  CLASS 

"Auntie  in  Moccasins" 
Mr.  Joseph  J.  Harley 

Tenafly,  N.  I. 
8-mm.  Kodachrome 


"Christmas  at  Our  Hoi 
Mrs.  Olaf  N.  Olsen 

St.  Paul,  Minn. 
16-mm.  Kodachrome 

"Desert  Life" 

Mr.  Henry  E.  Hird 

Ridgewood,  N.  J. 

16- mm.  Kodachrome 


"Down  Mexico  Way" 

Mr.  Frank  E.  Gunnel! 

West  New  Brighton,  N. 

16-mm.  Kodachrome 


"Linda" 
Mr.  Richard  D.  Fuller 

Milwaukee,  Wise. 
16-mm.  Kodachrome 


EASTMAN 


' 


0   0 


"South  of  Honolulu"                                                               "Hummingbird"                                                              "Western  Wild  Life" 

„,      r,        tj.,,             ,                                                               Dr.  Richard  Cassell                                                          Mr.  Frank  E.  Gunnell 
Mr.  Dan  Billman,  Jr.                                                            Los  Angeles    Cahf                                                       West  New  Brighton,  N.  Y. 

Minneapolis,  Minn.                                                        16-mm.  Kodachrome                                                      16-mm.  Kodachrome 

16-mm.  Kodachrome 

£m                          t3H                           SB 

"Madame  Hummer  at  Home"                                           "Where  the  Americas  Meet" 

"The  Ackley Lower  Impression  Technic"                                        j^rs    Warner  Seely                                                     Esther  and  Morton  H.  Read 

Mr.  Harry  Coleman                                                               Cleveland,  Ohio                                                                 Springfield,  Mass. 

Brooklyn,  N.  Y.                                                                16-mm.  Kodachrome                                                          16-mm.  Kodachrome 

16-mm.  Kodachrome 

"Magic  Mush"                                                    HONORABLE  MENTION 

TEN  BEST— SPECIAL  CLASS                                          J*r   !ric  M    Un™afk                                                        SPECIAL  CLASS 

San  Francisco,  Calif. 

"Behind  the  Bale"                                                             8-mm.  Kodachrome                                                          "Education  for  Life" 

t*         mi                                                                                                                                                                                Harmon  Foundation 

Mr.  Paul  Thompson                                                                                                                                                                     New  York  City 

Yakima,  Wash.                                                                       Teer  Gynt"                                                                  16-mm.  Kodachrome 

16-mm.  Kodachrome                                                           Mr.  David  Bradley 

Winnetka,  111.                                                                             -^B^» 

^^=^^_                                                               16-mm.  Cine-Kodak  Super-X 

B                                                                   "Let  Your  Body  Breathe" 

"Blossom  Forth  the  Fruit"                                                                j          HI                                                                  Mr.  Kendall  T.  Greenwood 

w      TAfir         d    tt   j.  i_-                                                                                                                                                                      Saniord,  Maine 
Mr.   William  n.  Hutchinson 

Newburgh    N    Y                                                   "That  All  the  Earth  May  Know"                                               16-mm.  kodachrome 

'                                                                    Mr.  C.  Manley  DeBevoise 

16-mm.  Kodachrome                                                             t,-i~it„  xt i,    vr    v                                                                           =^^^__=. 

iv  i.i. ii.  rwuwv  vim.                                                              Lime  Meclc,  w.  i.                                                                          ^Bbj 

16-mm.  KodocrSrome                                                                      H^^^P 

^^^                                                                                                                                                                  "Song  of  a  City" 

Mr.  John  Flory 

HONORABLE  MENTION                                                                                                                                                  Cleveland,  Ohio 

GENERAL  CLASS                                                                                                                                                      .*             „  j     l. 

*"unaa                                                           "The  Black  Rider"                                                             16-mm.  Kodachrome 

"Brookside'                                                                    Mr    Louis  McMahon 

Mr.  Robert  P.  Kehoe                                                                  Passaic,  N.  J.                                                                             C^^fe 

16-mm.  Panchromatic                                                                               ^P]^ 

16-mm.  Kodachrome 

|3     ■■                                                                  "The  Riders  of  the  Pecos"                                                       "Unsung  Heroes" 

Mr.  E.  M.  Barnard                                                           The  Calvin  Company 

^^^B                                                                           Kansas  City,  Mo.                                                                 Kansas  City,  Mo. 

16-mm.  Kodachrome                                                      16-mm.  Kodachrome 

"Flowering  Byways" 

Mr.  Ernest  Kremer                                                                       ^^^^^—                                                                                 f^^Bal 

Flushing,  N.  Y.                                                                                             ■                                                                                                    ■ 

8-mm.  Kodachrome 

VOU,  perhaps,  do  not  make  movies  to  enter  in  national  or  inter- 

■    national  movie  contests.  The  sole  judges  of  your  films  may  be 

your  family  and  your  friends.    And    here,   again,   movies    more 

frequently  win  acclaim  when  they  are  made  with  Cine-Kodak, 

wH^L'  .^H           ■Bak^**^    ^K 

on   ever-dependable,   always-uniform   Cine-Kodak    Films  — 
Kodachrome   or   Panchromatic. 

^^^ 

THE  WINNING  FILMS 

A   ■#          ^<A  HHI%   M   lllf             ■%                                                        ||           \f 

Kodachrome — regular  for  daylight  use,  and  "Type  A"  fox 

Ik    r nlvlPANY     Pnrhactor     N     Y 

Photoflood  filming — was  the  choice  of  almost  all   "Ten 

ni\   ViWifirMii  i  f   i\uinoiui/   ii •    i  • 

Best"  winners is  the  choice  of  almost  all  movie  makers." 

k 


,  to  the  makers  of  the  "Ten  Best,"  and  to  those  who  rea 
Honorable  Mention — congratulations  on  the  successit 
elusion  of  the  1941  contest  of  Movie  Makers  Ten  | 
Non-Theatrical  Films. 

In  the  belief  that  readers  will  be  interested  in  leant 
the  film  and  equipment  used  by  the  winning  conl 
the  following  listing  has  been  prepared.  Eastman  cai 
are  identified  by  the  symbol  0  ...  the  type  of  film  is 
in  italics.  As  you  will  see,  of  the  "Ten  Best"  films,  nine 
made  with  Cine-Kodaks  .  .  .  all  were  made  on  KodacL- 
Film.  Of  the  fifteen  films  in  the  Honorable  Mention  gi> 
twelve  were  made  with  Cine-Kodaks;  thirteen  were  c 
on  Kodachrome  Film. 

Congratulations- 


THE 

HIRAM  PERCY  MAXIM 

MEMORIAL  AWARD 


"Christmas  at  Oui  Hco 

Mrs.  Olal  N.  Olm 

Si.  Paul,  Minn. 
16-mm.  KoJochrwM 


"Hail,  British  Columbia 
Mr.  Leo  J.  Hefieman 

New  York  City 
16-mm.  Kodachrome 


16. 


"De.eil  LttV' 
.It.  Hoary  E.  HirJ 
Ridge  wood,  H.  I. 

Kodotr-'C-' 


TEN  BEST— GENERAL  CLASS 

Mr    Joseph  ).  Harley 

Tonally,  N.  ]. 
fl-mm.  Kodachromo 


.  Frank  E.  Gun* 
New  Brighton  > 
-mm.  Kodothrw* 


Milwaukee.  W*      I 
16-mm.  KodtHtuv* 


"The  AckloyLow«r  Impression 
Mr    Harry  Coleman 

Brooklyn,  N.  Y. 
16-mm.  Kodachrome 


TEN  BEST— SPECIAL  CLASS 


"Blauom  Forlh  the  Fruit' 

Mr.  William  ft    Hut  bin  ■ 

Newburgh,  N    Y 

16-mm.  Korfoch'ome 


Mr    Robert  P,  Keho. 

New  York  Cily 
16-mm.   Kodothrom. 


"Flower.na  Byway.' 
Mr    Ernent  Kremer 

Flu.hmg,   N     Y 
3-mm.  Kodothrome 


Mr.  Warner  Se.lv 
Cleveland.  Ohio 
Kodothrome 


agK-  Mu.h' 

HONORABLE  MENTION 

,,   ,      .   ■    iJjj 

SPECIAL  CLAI1 

t.  Kodoihiom. 

■ 

Hew   V 

»eer  GyM" 
David  Bradley 

,      .  ..   ,     n 

M-mm.  Kw^mtheimt 

ne-Kodoli  li/per-X 

m 

oe 

"Lei  Toot  1 
Mi  Kai 

eEerrh  Mat  KnoW" 

l*.mm.   IT  We.  Mem- 

C    Mauley  D.IU,,... 
Little  Heck,  H    Y 


'The  Bl.i    I 
Mr    LqiiIi  McMi 

Pae.«tc.  N    f 

16-mm,   Panthiomatii 


tid-n  ul  the  PecW 
E    M    R-< 

......    M 

nm.  Kedocfc/ome 


i 
CU..U., 
f6-mm    KeeW.fc.em. 


The  Cel.tn  C.x 


|-.eV.h'em. 


VOU,  perhaps,  do  not  moke  movies  to  enter  In  notlonol  or  Inter- 
'  national  movie  contests.  The  sole  Judges  of  your  film*  may  be 
your  family  and  your  friends.  And  here,  again,  movies  more 
frequently  win  acclaim  when  they  are  made  with  Cine-Kodak, 
on  ever-dependable,  olwoys-unlform  Cine-Kodak  Films  — 
Kodachrome   or   Panchromatic. 


EASTMAN  WK  COMPANY,  Rochester,  N.  Y. 


24 


Technical  comment 
and  timely  topics 
for  the   amateur 


BBER 
LENS  CAP^ 

TH  KNOT 
HOLD 
STRING 


TITLE 
EASEL 
ON  FLOOR 


STRING 


HOME- 
MADE 
PLUMB 
BOB 


v" 


AT  CENTER 

OF  TITLE  EASEL 


Reflector  aid  While  one  thinks  of 
using  reflectors  par- 
ticularly in  the  summer,  there  is  no 
reason  why  they  should  not  be  used  at 
any  season  of  the  year.  In  winter,  snow 
acts  as  a  reflector;  but,  in  many  sec- 
tions of  the  country,  there  is  not  enough 
snow  so  that  the  movie  maker  can  de- 
pend upon  this  aid. 

The  only  difficulty  in  the  use  of  a  re- 
flector, once  one  has  carried  it  to  the 
scene,  is  the  delay  that  one  may  en- 
counter in  "aiming"  it  or  placing  it  so 
that  it  will  reflect  light  toward  the  sub- 
ject. However,  a  handy  and  inexpensive 
device,  consisting  of  a  small  metal  mir- 
ror and  a  length  of  cord,  can  be  used 
as   a   sighting  aid.   The  mirror  is   sus- 


pended upon  the  surface  of  the  reflector 
by  the  string,  which  is  held  in  the  hand, 
as  shown  in  the  illustration  below.  The 
mirror  will  reflect  a  brilliant  spot  of 
light  upon  the  subject  when  the  re- 
flector is  properly  placed.  One  can 
manipulate  the  reflector  until  this  spot 
is  centered  upon  the  subject.  Then  the 
mirror  can  be  withdrawn  by  the  cord, 
leaving  the  reflector  correctly  placed 
for   full   efficiency. 

To  center  titles   Ralph  c.  Crosley, 

ACL,  has  sent  us 

the  idea  for  a  very  clever  "gadget"  to 

assist  a  movie  maker  in  centering  titles 

made  from  a  vertical  camera  position. 

He    writes,    "Recently,    when    I    had 


Bright  spot  from  mirror  makes  it  easier  to  place  reflector 


C.  J.  Carbonaro,  ACL 


Simple  method  of  centering  vertical  titles 

KENNETH     F.     SPACE,     ACL 

some  block  letter  titles  to  make,  I  im- 
provised a  plumb  bob  and  line  to  center 
the  titles.  I  punched  a  small  hole  in  the 
exact  center  of  a  rubber  lens  cap  and 
through  this  hole  I  ran  a  length  of 
string  to  the  upper  end  of  which  a  knot 
was  tied,  to  secure  it  to  the  cap.  A 
homemade  bob  was  tied  to  the  lower 
end.  The  bob  was  made  by  pouring  one 
inch  of  sealing  wax  into  a  cone  shaped 
paper  drinking  cup.  Before  the  wax 
hardened,  a  hairpin  was  set  in  the  cen- 
ter, to  make  an  eye  to  which  the  string 
was  attached.  When  the  camera  is  set 
up  with  its  base  exactly  perpendicular 
to  the  floor,  and  the  lens  cap  is  placed 
over  the  lens,  the  point  of  the  bob  will 
indicate  the  center  of  the  area  that  will 
be  included  in  the  field." 

Lens  turret  advice     We  have  re 

cently  noted 
that  a  good  many  vacation  films  have 
scenes  in  which  the  end  of  a  telephoto 
lens  on  a  turret  was  accidentally  in- 
cluded. Most  camera  manufacturers 
publish  charts  which  show  what  com- 
bination of  lenses  can  be  used  without 
causing  this  trouble,  and  those  who  do 
not  issue  such  charts  can  tell  you  on 
request.  There  are  involved  mathemati- 
cal ways  of  finding  this  information  out 
for  yourself,  but  the  most  simple  meth- 
od of  which  we  know  is  to  extend  each 
lens  on  a  turret  to  its  utmost  length  and 
to  place  each  lens  in  filming  position, 
in  turn,  to  focus  it  and  to  make  a  test 
shot.  The  series  of  short  test  shots 
should  be  made  of  some  plain  object, 
so  that  any  intrusion  of  a  neighboring 
lens  can  be  seen  easily.  We  should  add 
the  suggestion  that  a  test  shot  be  made 
in  each  case  with  a  filter  on  each  lens. 


25 


Sliding  viewer    Ralph   C.   Crosley, 

ACL,  has  given  us 
a  very  simple  solution  to  a  problem 
that,  we  feel  sure,  has  vexed  numerous 
movie  makers. 

Mr.  Crosley  explains,  '"These  photo- 
graphs will  show  you  how  I  remodeled 
my  film  editor,  to  make  it  more  suitable 
for  my  particular  needs.  As  the  viewer 
was  in  the  direct  path  of  the  film  and 
thus  hindered  rewinding,  I  conceived 
the  idea  of  mounting  my  viewer  on 
metal  drawer  guides  (see  your  local 
hardware  dealer ) .  One  half  of  the  pair 
of  guides  is  mortised  into  an  eighteen 
by  twenty  four  inch  plywood  base,  as 
shown  below.  The  idea  is,  of  course,  to 
slide  the  viewer  back  out  of  the  way 


Viewer    slides    to    clear    the    rewind 

when  one  is  rewinding.  The  rewinds  are 
about  eighteen  inches  apart. 

"The  film  cement  bottle,  also  being 
mortised  into  the  board,  cannot  turn 
over  and  spill."  Mr.  Crosley  also 
changed  his  viewer  to  accommodate  a 
toggle  switch,  but  we  do  not  advise  con- 
struction which  might,  in  any  way,  re- 
duce the  trade  in  value  of  equipment — 
although  we  do  not  doubt  that  this  addi- 
tion has  been  an  added  convenience  for 
its  owner. 


Flood  lighting  unit  easily  made  with  mushroom  bulbs 


Compact  lighting  Unit  The  Prob- 
lem of  por- 
tability in  lighting  equipment  is  very 
neatly  solved  by  Frederick  G.  Beach, 
ACL,  as  is  shown  in  the  photographs 
above.  Mr.  Beach  explains,  "While  cast- 
ing about  for  some  powerful  light  source 
that  would  be  small  enough  in  bulk  and 
weight  so  that  it  could  be  carried  easily, 
I  hit  upon  the  idea  of  mounting  five 
porcelain  sockets  in  a  small  box  and 
using  the  mushroom  type  of  flood  bulbs 
which  incorporate  a  reflector.  The  box 
was  made  of  plywood,  and  the  top  was 
fitted  with  the  five  sockets,  as  shown 
here.  They  were  wired  to  a  single  cable, 
twenty  five  feet  in  length.  The  box  may 
be  suspended  by  a  small  chain,  or  it 
may  be  supported  by  special  clamps 
which  will  fit  an  ordinary  light  stand. 
In  some  instances,  it  is  convenient  to 
hang  the  light  unit  from  a  picture  mold- 
ing or  from  an  overhead  beam.  To  add 
a  refinement,  one  could  screw  flexible 
sockets  into  the  porcelain  receptacles 
and,  into  these  sockets,  he  could  place 
the  flood  bulbs."  The  lid  on  the  shallow 
box  protects  the  wiring.  The  sides  of 
the  box  are  painted  black  and  the  top 
is  coated  with  silver  paint,  so  that  it 
will  serve  as  a  reflector  if  the  unit  is 
used  with  plain  bulbs. 

Light  Switch  We  are  indebted  to 
Robert  Shull.  ACL. 
for  an  interesting  "gadget"  by  which 
the  room  lights  can  be  switched  off  as 
the  projector  light  is  turned  on,  or  vice 
versa.  It  is  illustrated  below.  Mr.  Shull 
says,  "At  the  beginning  of  a  screening, 
there  always  was  some  confusion  in  get- 
ting some  person  to  turn  the  lights  off 
at  just  the  right  time.  This  device  gives 
the  projectionist  complete  control  over 
room  lights,  and  the  switch  is  near  the 


Device  to  switch  off  room  lights  as  projector  is  turned  on 


SOCKET   TO 

PROJECTOR 


PLUG    TO 
WALL    OUTLET 


SWITCH 


<P 


©0© 


OR  3  WAY     SOCKET    FOR 
FLOOR    LAMPS 


projector.  This  outfit  can  easily  be  car- 
ried in  a  projector  case  when  you  are 
going  to  give  a  show  outside  your 
home." 

Lens  adjustments    In  these  days 

when  we  can- 
not always  get  just  the  lenses  that  we 
may  want  for  our  cameras,  a  word  of 
warning  may  be  sounded.  If  you  pur- 
chase a  lens  that  is  not  designed  for 
your  particular  camera  or  if  it  is  not 
offered  by  the  same  manufacturer,  you 
should  write  to  the  camera  manufactur- 
er beforehand,  if  possible,  and  inquire 
if  the  proposed  objective  will  fit  your 
particular  camera.  If  you  do  not  have 
time  to  make  this  inquiry,  you  should  at 
least  send  the  lens  and  the  camera  to 
the  factory,  so  that  they  may  be  adjust- 
ed properly.  You  may  spoil  some  foot- 
age and  perhaps  may  damage  your  cam- 
era or  lens,  by  trying  to  force  an  adjust- 
ment or  by  putting  a  lens  improperly 
into  place. 

Moving  title  backgrounds  While 

the 
methods  of  obtaining  moving  back- 
grounds for  titles  seem  to  be  pretty  well 
known,  we  are  quite  often  asked  how 
one  can  use  scenes  for  title  backgrounds 
which  have  already  been  filmed  and 
processed.  Laird  S.  Goldsborough, 
ACL.  does  it  in  this  way:  "I  set  up  my 
camera  at  a  distance  of  three  feet  from 
a  regular  glass  beaded  screen,  on  which 
the  scene  is  projected  at  about  twenty 
four  frames  a  second.  My  lens  is  set  at 
//1.4  (with  Kodachrome)  and  the  cam- 
era operates  at  the  regular  speed  of  six- 
teen frames  a  second.  With  a  750  watt 
lamp  in  the  projector,  the  results  are 
excellent. 

"The  film  in  the  camera  has  been 
previously  exposed  to  the  titles,  which 
were  lettered  in  white  on  a  piece  of 
black  paper.  The  film  was  then  rewound 
for  the  background  shooting. 

"The  obvious  advantage  of  this  sys- 
tem is  that,  after  one  has  made  a  Koda- 
chrome film  on  tour  or  in  other  circum- 
stances under  which  it  is  impractical  to 
shoot  a  title,  one  can,  at  home  and  at 
leisure,  superimpose  titles  on  the  Koda- 
chrome scenes  that  have  been  taken  in 
the  field." 

Mr.  Goldsborough  uses  Kodachrome 
[Continued  on  page  35] 


NEWS  OF 

THE 
INDUSTRY 


•  Roosevelt's  war  message  to  Congress  preceding  declara- 
tion of  war  on  Japan,  a  scene  in  "Japs  Bomb  U.S.A."  Castle 
release. 


Timely  War  film  Directly  following  Americas  formal 
entrance  into  war  in  the  Pacific  comes 
a  prompt  announcement  from  Castle  Films,  of  a  special 
January  news  release  under  the  title,  Japs  Bomb  U.S.A. 

Subject  to  restrictions  of  military  regulation,  this  remark- 
able film  will  consist  of  the  outstanding  news  camera  cover- 
age of  today's  world  shattering  events  near  both  shores  of 
the  Pacific,  on  the  broad  expanse  of  the  ocean  itself  and 
on  the  important  island  tactical  bases  that  dot  its  surface. 

This  new  film  brings  the  number  of  Castle  war  movies  to 
sixteen,  comprising  an  important  motion  picture  chronicle 
from  the  inception  of  hostilities  five  years  ago.  when  Japan 
first  invaded  China,  down  through  each  tragic  chapter  in 
the  dark  years  that  followed. 


26 


•    New   8mm.   reel   of   translucent   plastic    made    by   American 
Molded    Products    Corp. 

The  new  film  will  be  available  on  8mm.  silent  and  16mm. 
sound  and  silent,  at  regular  Castle  prices.  Complete  infor- 
mation of  this  and  other  Castle  films  may  be  had  from  the 
firm,  at  30  Rockefeller  Plaza,  New  York  City. 

FilmOSOUnd     reduces       Although  prices  are  increasing. 

it  is  interesting  to  note  that  the 
rapid  development  of  the  field  served  by  the  Filmosound 
library  has  brought  about  reductions  in  rental  rates  on  over 
200  recreational  feature  films.  Filmosound's  list  of  authentic 
Alpine  Ski  films,  single  reelers  with  musical  background,  is 
being  expanded. 

New  single  reel  films  in  color  have  been  made  available, 
too.  These  reels  are  released  under  the  general  heading. 
Our  Colorful  World,  and  comprise  natural  history,  scenic 
and  topical  subjects.  The  new  Filmosound  Library  Catalogs 
describe  3000  films  and  can  be  obtained  on  application  to 
Bell  &  Howell  Company,  1801  Larchmont  Avenue,  Chicago. 


Answers  the  query 
"What's  new?"  for 
filmer  and  dealer 

RUSSELL     C.     HOLSLAG,     ACL 

Plastic  reel  A  new  8mm.  projection  reel,  completely 
fabricated  of  translucent  plastic,  has  been 
introduced  lo  the  movie  public.  Much  lighter  than  metal, 
and  silent  in  operation,  the  new  reel  seems  to  fulfill  its  func- 
tion perfectly  in  rewinding  and  projection.  One  of  its  trans- 
lucent arms  carries  an  etched  footage  scale.  The  reel  is 
available  in  the  200  foot,  8mm.  size  at  forty  cents,  in  the 
300  foot  size  at  fifty  cents.  Manufacturers  are  American 
Molded  Products  Corporation.  1751  Honore  Street.  Chicago. 

Infrared    bulb  A    new    form    of   infrared    ruby    drying 

bulb  has  been  announced  by  Wabash 
Photolamp  Corporation.  Brooklyn.  N.  Y.  Designed  for  studio 
and  darkroom  use  in  which  speed  is  essential,  the  lamp 
generates  infrared  rays  which  are  converted  to  penetrating 
heat  as  soon  as  they  strike  film  or  paper.  The  new  Ruby 
Heat  Lamp  has  many  applications  of  this  kind,  and  it  is 
available    in    the    250    watt    size.       [Continued  on  page  42] 


•    Kodak    Minicolor   Pocket  Case  for   color   prints   made   from 
Kodachrome    originals. 


MOVIE    MAKERS 


27 


FILMS  YOU'LL  WANT  TO  SHOW 

Non  theatrical  movie  offerings  for  substandard  projection 


■  Small  Town  Boy,  16mm.  sound  on 
film,  running  time,  sixty  three  minutes, 
is  a  clever  comedy  of  small  town  life, 
released  by  Post  Pictures  Corporation, 
723  Seventh  Avenue,  New  York  City. 
What  would  you  do  if  you  found  a  thou- 
sand dollar  bill  and  could  not  locate 
the  owner?  That  is  what  happened  to 
the  hero  of  this  story,  and  his  luck  has 
a  very  surprising  final  result. 


■  Vegetative  Plant  Propagation,  two 
reels,  16mm.  silent,  is  offered  by  the 
Teaching  Films  Division  of  the  East- 
man Kodak  Company,  Rochester,  N.  Y. 
This  film  illustrates  the  techniques  used 
in  various  types  of  plant  propagation, 
based  on  scientific  research.  Full  screen 
closeups  bring  out  the  various  steps. 
The  subject  is  treated  in  two  reels,  each 
illustrating  definite  operations  in  the 
art  of  plant  propagation. 


duced  and  offered  for  outright  sale  by 
Castle  Films,  Inc.,  30  Rockefeller  Plaza, 
New  York  City.  This  interesting  film 
covers  thoroughly  the  sport  that  enlists 
the  participation  of  twenty  million 
Americans,  men  and  women  and  boys 
and  girls.  Demonstrations  of  form,  grip, 
footwork,  arm  and  wrist  work  are 
shown  by  Joe  Falcaro,  undefeated 
world's  match  champion.  Amazing  trick 
shots  are  also  illustrated. 


'*:-■■; 


■  Orphans  of  the  North,  six  reels, 
16mm.  sound  on  film,  running  time, 
about  seventy  minutes,  is  an  authentic 
feature  film,  produced  in  the  arctic  by 
Norman  Dawn  and  released  for  sale  or 
rental  by  Bell  &  Howell  Filmosound 
Library,  1801  Larchmont  Avenue,  Chi- 
cago. The  story  is  of  a  little  girl,  lost 
in  the  northern  wilds  and  finally  res- 
cued. The  native  cast  and  the  atmos- 
phere of  northern  wild  life  contribute 
to  the  presentation  of  a  thrilling  sub- 
ject. 


■  Boivling  Aces,   one  reel,   8mm.   and 
16mm.  silent  and  16mm.  sound,  is  pro- 


■  52nd  Street,  16mm.  sound  on  film, 
running  time,  eighty  minutes,  is  a  live- 
ly musical  feature,  starring  Kenny 
Baker,  Ian  Hunter  and  Pat  Patterson. 
It  has  a  number  of  hit  songs  and  a  plot 
which  is  motivated  by  the  hectic  occur- 
rences which  are  reputed  to  be  the  nor- 
mal thing  in  night  clubs  along  this  par- 
ticular thoroughfare.  It  is  released  by 
Commonwealth  Pictures  Corporation, 
729  Seventh  Avenue,   New  York   City. 


■  America's  War  for  Free  Men,  16mm. 
silent  and  sound,  8mm.  silent,  one  reel, 
is  released  by  Official  Films,  Inc.,  330 
West  42nd  Street,  New  York  City,  for 
outright  sale.  This  film,  the  first  of  a 
series  to  be  planned  as  a  cinematic  in- 
terpretation of  current  history  for  the 
home  screen,  outlines  important  high 
lights  in  the  present  struggle  through- 
out the  world.  Events  leading  up  to  the 
Far  Eastern  crisis  are  depicted. 


■  Peck's  Bad  Boy,  16mm.  sound  on 
film,  running  time,  seventy  minutes, 
distributed  by  Nu-Art  Films,  Inc.,  145 
West  45th  Street,  New  York  City,  is  a 
vital,  human  story  of  a  motherless  boy 
who  battles  to  hold  the  affections  of  his 
father  against  the  plottings  of  a  schem- 
ing aunt. 


■  Pirate    of    the    Seven    Seas,    16mm. 
sound  on  film,  running  time,  sixty  min- 


28 


JANUARY    1942 


The  Ideal  Gift 


The  Craig  Projecto-Editor 


The  clearest,  most  ver- 
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Smm  Model,  complete 
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film  cement.  .$37.50 
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alone     $29.50 

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$59.50 
Fast  or  slow  motion,  brilliant  miniature  screen, 
ultra  smooth  movement.  The  Craig  Projecto-Editor 
adds   a  Hollywood  perfection   to  your  home  movies. 

If  It's  By  Craig,  It's  Precision  Built! 

Craig  Products  stay  ahead  of  the  field  because  of 
their  advanced  design,  accurate  engineering  and 
strong  construction.  This  kind  of  equipment  is  vital 
to  good  photography.  And  so  for  best  results,  use 
Craig  all  the  way.  You  owe  it  to  yourself  and  to 
your  camera. 

For  Every  Need — For  Every  Purpose 

Editors,  Splicers,  Title  Sets,  Fotofade  Kits,  Cinetint 
Kits,  Film  Cement,  Rewinds,  Film  Dryers,  Com- 
binations .  .  .  every  Home  Movie  Maker's  needs 
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picture.  So  edit  the  Craig  Way — all  the  way! 

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"Makes  Editing  a  Pleasure" 

CRAIG  MOVIE  SUPPLY  CO. 

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SOUND  ON  FILM 

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utes,  is  an  adventure  film,  built  around 
the  activities  of  the  captain  of  a  tramp 
steamer,  engaged  in  pearl  smuggling 
across  the  China  Sea.  Piracy,  mutiny 
and  other  troubles  threaten,  but  the 
plot  is  finally  resolved  in  an  exciting 
denouement.  Distribution  is  by  W.  0. 
Gutlohn,  Inc.,  25  West  45th  Street,  New 
York  City. 

Filming  swift  skis 

(Continued    from    page    13) 

slope  and  to  catch  the  thrill  of  the  turn 
toward  you  and  the  rasp  of  the  skis  as 
they  twist  away  again. 

Slaloms  are  good  for  action,  too,  com- 
bining the  advantage  of  the  color  of 
the  flags  with  the  advantage  that  the 
movie  maker  will  know  just  exactly 
where  the  boys  are  going — or,  anyway, 
where  they  want  to  go.  Furthermore, 
these  events  are  mostly  in  open  coun- 
try, and  they  generally  offer  camera 
positions  made  to  order.  For  instance, 
you  probably  can  get  directly  below 
two  flags  between  which  the  racers  are 
scheduled  to  pass  and  beyond  which 
they  will  turn  sharply.  Then  you  can 
frame  the  shot  with  the  flags  and  film 
the  skiers  as  they  jump  or  pole  turn. 
You  can  then  follow  them  down  the 
rest  of  the  course  with  an  easy  "pan" 
of  the  camera. 

Snow  Scenes 

Frame  snow  shots  with  laden 
branches;  filter  them  for  a  black  sky. 
Try  tilting  from  a  view  of  a  skier  on 
the  trail  to  an  upward  shot  through 
icicle  covered  trees — but  don't  "pan." 
"Panning"  is  beginners'  technique,  for 
one  thing,  and,  for  another,  your  ex- 
posures will  change  radically  during  a 
"pan,"  from  bare  slope  to  wooded  sec- 
tion and  back  to  the  glare  of  a  barren 
hillside.  Snow,  like  sand,  will  boost 
your  light  value  and,  like  water,  may 
give  you  bad  reflections  and  light 
flares,  particularly  when  it  is  crusted 
or  windswept. 

Look  for  scenes  of  snow  bent  trees 
that  sometimes  assume  monster  forms. 
Wait  for  the  winds  that  send  loose  snow 
swirling  over  the  top  of  a  rise,  possibly 
back  lighted  by  a  low  sun.  Silhouette 
your  skiers  climbing  a  ridge  or  sliding 
slowly  homeward,  directly  in  front  of 
the  setting  sun.  These  are  the  scenes 
that  swell  the  throat;  they  are  the  shots 
that  make  a  film  great  and  they  are 
worth  planning  for. 

Human  Interest 
In  general,  human  interest  concerns 
people  and  the  usual,  or  unusual, 
human  things  that  they  do.  It  is  cer- 
tainly human,  on  skis,  to  spill.  It  is 
equally  human,  after  a  long  successful 
slide  down  a  steep  hill,  to  grin  victori- 
ously from  ear  to  ear.  Get  that  grin. 
Also    get    a    face    appearing   out    of   a 


snowdrift.  Both  are  good  for  a  laugh 
in  any  reel.  And,  while  we  are  on  the 
subject  of  smiles,  why  not  give  your 
audience  a  glimpse  of  that  long  red 
underwear  peeping  out  from  Sally's 
sleeve,  or  why  not  show  Johnny  hur- 
riedly brushing  himself  off  as  he  looks 
anxiously  around  to  discover  who 
watched  him  take  that  "header"? 

Human  interest  also  implies  plenty 
of  closeups.  If  your  audiences  are  in- 
terested in  ski  practices,  picture  the 
waxing  business,  the  adjustment  of  the 
harness,  the  grasp  of  the  pole.  If  the 
occasion  is  preceded  by  travel,  try  for 
a  few  scenes  en  route  to  the  slopes.  If 
your  shots  concern  a  meet,  make  sure 
to  include  the  finish  flag,  the  timer,  the 
cheering  crowd. 

Think  of  the  interesting  incidentals 
of  this  sport.  Generally,  it  is  cold,  and 
coffee  is  not  too  far  away.  A  closeup  of 
stamping  feet  or  slapping  arms  will 
give  plenty  of  justification  for  a  scene 
of  people  clustered  around  the  steam- 
ing coffee  pot.  Sometimes  there  are 
children  practicing  on  the  slopes;  they 
are  always  good  for  a  few  shots.  Per- 
haps you  have  a  ski  tow — get  a  down- 
ward shot  from  the  top,  showing  the 
line  of  skiers  hanging  to  the  rope.  May- 
be there  is  a  ski  lift;  turn  around  and 
show  your  companion  dangling  his  legs 
high  above  the  vanishing  valley. 

Another  thing  about  ski  lifts — they 
are  perfect  dollies.  Aim  ahead  at  a 
forty  five  degree  angle  and  watch  the 
mountain  rise  slowly  higher  and  high- 
er. Point  the  camera  backward,  and 
the  houses  will  grow  smaller  and  small- 
er, black  specks  in  a  mighty  white 
vista.  You  can  transfer  your  thrills  with 
shots  like  that,  but  remember — you 
must  have  variety.  Scenic  views  are  all 
right  if  they  are  spliced  with  action 
shots,  and  both  are  better  if  they  are 
spiced  with  human  interest.  Lowell 
Thomas  says  the  Cro-Magnon  had  it — 
why  not  you? 

A  club  shows  its  work 

(Continued    from    page   20) 

Club  screening  follows  the  pattern  of 
the  theatrical  movie  house,  with  news- 
reel,  short  subjects,  comedy  and  longer 
features.  The  two  hour  program  is 
broken  up  into  two  1600  foot  reels,  the 
first  containing  the  newsreel  and  short 
subjects,  while  the  second  holds  the  fea- 
ture films  — ■  occasionally  a  photoplay 
and  the  prize  films  of  the  year. 

Planning  the  Program 
To  speed  selection  of  films,  two  pro- 
jectors are  used  to  throw  separate  fea- 
tures on  the  right  and  left  half  of  a  large 
screen.  Thus  it  is  possible  to  judge  in- 
dividual offerings  simultaneously. 

Films  that  are  eligible  for  the  news- 
reel  section  must  have  either  timeliness 
or  unusual  interest  or  both.  This  section 


MOVIE    MAKERS 

may  be  called,  News  Highlights  of  the 
Year,  or  Newsettes  of  Other  Years,  or 
News — Only  Yesterday.  Here,  close  edit- 
ing is  essential,  and  no  scenes  are  in- 
cluded which  might  slow  the  tempo.  Not 
more  than  a  dozen  newsreel  items  are 
included,  and  each  is  separately  sub- 
titled with  an  appropriate  double  ex- 
posed background. 

Longer  strips  of  100  feet  or  less  fall 
under  such  headings  as  Featurettes 
from  Everyland,  or  Feature,  Fact  and 
Fancy,  or  Sports — In  Action.  Each  has 
an  individual  main  title,  coupled  with 
the  filmer's  credit  line. 

Featurettes  may  cover  almost  any  sub- 
ject— farm  life,  mountain  flowers,  house- 
boating,  lei  making,  Indian  powwows, 
Western  roundups,  canoeing,  cruising, 
motor  camping,  bird  studies,  baby  scenes, 
State  fair  thrillers,  "aquatennial"  pa- 
rades, wrestling  and  even  deer  hunts. 
In  some  cases,  these  "quickies"  are  only 
sequences — segments  of  full  length  fea- 
tures, which,  because  of  lack  of  time, 
cannot  run  in  their  entirety.  Here,  also, 
a  comedy  might  be  introduced  as  a 
lively  method  of  closing  Reel  One. 

Two  or  three  travelogs  are  usually 
included  in  Reel  Two,  and  a  comedy 
short,  such  as  a  sound  synchronized 
"barber  shop"  harmony  opus,  is  desir- 
able to  break  up  the  more  serious  stuff. 
The  result  is  a  well  balanced  cine  menu 
of  proper  length.  Included  in  a  recent 
Spring  Show  were  the  three  prize  win- 
ning films  of  the  year,  the  midway  in- 
termission between  reels  offering  an 
opportunity  for  the  presentation  of  spe- 
cial trophies. 

Variety  Adds  Spice 

Final  editing  and  titling  are  not  done 
until  all  acceptable  films  are  scheduled, 
smoothed  out  and  cut  to  proper  length. 
While  a  main  introductory  title,  backed 
by  a  fanfare  recording,  usually  opens 
the  local  club's  evening  show,  last  year, 
for  variation,  a  shot  of  a  special  Tele- 
sign  greeting  was  used.  The  sign  was 
flashed  from  the  top  of  the  Foshay  Tow- 
er, a  thirty  two  story  building  in  Min- 
neapolis, and  it  was  filmed  with  three 
cameras,  each  of  which  was  equipped 
with  a  lens  of  different  focal  length.  The 
best  shot  was  accepted  and  was  cut  into 
the  film. 

Shooting  was  done  at  night,  through 
an  open  window  located  high  above  city 
streets,  and  the  cameraman  exposed  one 
frame  at  a  time  as  each  letter  in  the 
Telesign  greeting  flashed  across  the  sky. 

The  club's  1940  Movie  Party  opener 
featured  a  fanfare  during  the  Telesign 
introduction,  while  the  initial  newsreel 
scenes  —  a  colorful  downtown  parade 
filmed  in  Kodachrome  —  was  synchro- 
nized to  the  lilt  of  marching  music.  In 
fact,  the  addition  of  sound  and  music 
made  the  footage  more  impressive  than 
was  the  real  thing. 

The  1941  introduction  was  made  up 
of   a   montage   of   widely  varied   short 


29 


Dependability 

is  the  Thing... 


VERSATILITY  is  a  matter 
of  photographic  skill,  based 
on  camera  dependability.  On  the 
dependability  of  Graflex  cameras 
many  a  brilliant  career  has  been 
built. 

The  2V4  x  3V4  Series  B  Graflex 
is  a  small  camera,  yet  it  affords  the 
means  with  which  masterpieces 
can  be  made.  It  offers:  full-vision 
ground  glass  focusing,  revolving 
back,  the  famous  5V2"  Kodak  An- 
astigmat  //4.5  lens,  focal  plane 
shutter  with  25  speeds  up  to 
1/1000  and  "time,"  close-ups  at  21 
inches,  and  the  ability  to  use  film 
packs,  sheet  film,  or  plates. 
The  Series  B  can  be  fitted  with 
accessory  telephoto  lenses  if  de- 
sired. Price,  $106.50. 

Graflex  and  Graphic  cameras  are  made  by 
the  Folmer  Graflex  Corporation 


EASTMAN   KODAK   COMPANY,  ROCHESTER,  N.  Y. 


^/VICTOR: 


N0.250-S 


FOR  INDOOR    MOVIES  AND  STILLS 
IN  1942 


\fICTOR     Fotoflood     Units     for 
home  movies  are  available  for 
all     sizes     of    photoflood     lamps. 
Thirty  models  to   choose  from. 

VICTOR  Fotoflash  Units  for  all 
sizes  of  photoflash  lamps  are 
available  for  use  with  your  still 
camera.  Eleven  items  to  choose 
from  in  addition  to  Fotoflood 
units  suitable  for  flash  lighting. 
Among  these  you  should  be  able 
to  find  whatever  you  need  for  in- 
door photographic  work  of  all 
kinds — movies  or  stills. 

Advertised    prices    are    subject    to 
change  without  notice. 

See  your  nearest  camera  dealer 
or  write  for  literature. 


No.520-S 


No.55 


James  H.  Smith   &  Sons  Corp. 

122   Lake   St.  Griffith,    Indiana 


V I CTO  ^ff&rtbySuytAtf  J@pA& 


30 


JANUARY    1942 


"PROFESSIONAL,  JR."  TRIPOD 

The  importance  of  16  mm  filming  demands  a 
sturdy  tripod  built  along  professional  lines  .  .  . 
the  Professional,  Jr.  Built  to  precision  stand- 
ards "Spread-leg"  design  gives  utmost  rigid- 
ity. Quick,  positive  height  adjustment.  Smooth 
tilt  and  panoram  head.  Camera  platform  takes 
EK  Special.  B&H  Filmo.  Bolex  or  Berndt- 
Maurer  cameras;  also  adaptable  for  35  mm 
Eyemo,  Devry,  etc.  Ideal  for  sound  and  all 
important  work.  Used  by  leading  35  mm  news- 
reel  companies  and  16  mm  producers.  Write 
for  descriptive  literature. 

CAMERA  EQUIPMENT  CO. 

1600  BROADWAY  NEW   YORK,   N.  Y. 


16mm  SOUND 

on 

film 

Recording    Studio    and    Edit 

'ng    Fat 

ilities 

BERNDT-MAURER  RECORDER 

GEO.  W.  COLBURN   LABORATORY 

II97-M    Merchandise    Mart 

Chicago 

EAGLE 
DRYING    BLOTTER    BOOK 


LINTLESS    AND    CHEMICALLY    PURE 
WORLD    PHOTOGRAPHIC    BLOTTERS 

Lies  flat.    Blotters   can   be  replaced. 
Size,  9Vi   x  11%  inches,  for  S  x  10  prints.  .$ 
Size,  12  x  18  inches,  for  11  x  14  prints I 


55 
IO 


Mail  orders  promptly  filled. 

Monthly  magazine    "Snap   Shots"   sent  free   on  re- 


MURPHY* 


57    EAST  9TH    ST. 


NEW    YORK   CITY 


scenes  with  a  spoken  commentary,  han- 
dled by  a  member  who  is  a  professional 
radio  announcer. 

Calliope  tunes  provided  the  back- 
ground for  a  clowning  sequence,  which 
featured  America's  Number  One  Funny 
Man  — ■  Felix  Adler.  Screaming  sirens, 
the  crackle  of  flames  and  the  hiss  of 
water  gave  downtown  fire  and  smoke 
scenes  a  natural  effect,  while  a  perfectly 
synchronized  sound  disc  of  a  crashing 
wall  fitted  in  nicely  with  the  wrecking  of 
a  giant  radio  tower. 

Natural  homemade  sounds  were  also 
used  before  a  microphone  during  the 
projection  from  the  booth.  The  thum- 
pety  thump  of  horses'  hoofs  on  turf  was 
reproduced  by  chest  pounding,  while  the 
sharp  sounds  of  pavement  trotting  were 
created  by  clapping  a  metal  cover  over 
an  empty  jar.  Some  wheat  harvesting 
scenes  almost  had  the  experts  "stumped," 
but  the  metallic  noise  of  the  harvesting 
machinery  was  recreated  by  twirling  a 
stick  inside  a  lopsided  tin  can,  while 
rhythmic  background  sounds  were  ob- 
tained from  a  record  of  a  ri\er  packet. 

A  few  days  before  the  show,  a  terrific 
blaze  gutted  a  downtown  furniture  store. 
Although  two  apartment  fires  had  al- 
ready been  scheduled  for  the  newsreel 
section,  a  pair  of  local  cine  clubbers 
covered  the  new  fire  from  roof  top  and 
ground  level.  Rushed  away  for  speedy 
processing,  the  films  were  returned  and 
were  cut  into  the  final  footage  only  an 
hour  before  Movie  Party  guests  had  be- 
gun to  assemble. 

Filming  Tricks  Exposed 

In  one  flower  featurette,  a  movie  mak- 
er revealed  why  it  is  better  to  look  up 
at  flowers  than  to  look  down  at  them. 
He  used  a  low  camera  viewpoint  and 
shot  upward,  to  include  distant  land- 
scapes and  out  of  focus  mountains  for 
greater  depth  and  contrast. 

In  a  canoeing  short,  the  cameraman 
showed  a  boat  carrier  starting  over  the 
portage  in  fast  motion  at  eight  frames 
a  second.  He  took  the  finish  in  slow 
motion  at  sixty  four  frames,  to  give  a 
ludicrous  effect. 

An  attempt  at  close  synchronization 
was  made  by  one  producer  who  ar- 
ranged settings  to  fit  a  recording  of 
Three  Little  Fishies.  Each  change  in 
musical  mood  was  timed  with  a  stop 
watch;  then  a  large  aquarium  was  se- 
lected, with  three  goldfish  as  inmates, 
bobbing  in  amongst  seaweeds  and  sandy 
shoals.  Painted  sea  views  were  mounted 
behind  the  glass,  and  the  whole  was 
lighted,  to  give  the  impression  of  an 
underwater  scene. 

Both  the  mama  fish  and  the  big  bad 
whale  (or  was  it  a  shark?)  were  intro- 
duced in  the  scenes  where  they  were 
necessary,  by  an  operator  who  manipu- 
lated celluloid  fish  from  above.  For  the 
"over  the  dam"  sequence,  a  small  stream 
and  midget  dam,  banked  with  artificial 
grass,  were  prepared,  and  the  fish  actu- 


ally flowed  down  over  the  dam,  forced 
by  a  stream  of  water  which  was  sup- 
plied by  a  hose  which  was  out  of  view. 
To  get  the  fish  to  swim  back  over  the 
dam  caused  considerable  head  scratch- 
ing, but  this  feat  was  easily  accom- 
plished by  shooting  the  previous  scene 
with  the  camera  inverted  and  by  revers- 
ing the  processed  footage,  end  for  end, 
to  give  backward  action. 

Baby  pictures  are  always  favorites 
with  mixed  audiences,  and  one  cine 
clubber  showed  his  ingenuity  by  filming 
his  youngster  in  costumes  of  different 
nations.  The  Kodachrome  featurette 
fades  in  with  a  closeup  of  colored  block 
letters  on  a  table  top,  spelling  out  Peggy 
Lou  Berglund  Presents.  The  camera 
"pans"  over  the  lettering  and  stops  on 
a  closeup  of  a  large  book  on  which  is 
printed  Children  Around  the  Globe.  The 
book  is  held  by  two  tiny  hands,  and.  as 
it  is  lowered,  the  face  of  the  little  girl 
and  her  doll  in  her  arms  are  revealed. 
The  child  falls  off  to  sleep  and  dreams 
about  the  different  children.  In  the  se- 
quences which  follow,  she  enacts  the 
chief  roles  herself.  Special  painted  back- 
drops were  used  for  the  Hawaiian  and 
Indian  setups,  and  the  whole  was  filmed 
indoors  under  flood  lighting.  To  com- 
plete the  short,  the  picture  returns  to 
the  original  scene  of  the  youngster, 
awakening  and  picking  up  the  book  for 
the  fade  out. 

Scenario  minded  filmers  were  particu- 
larly active  in  the  club's- ranks,  and  an- 
other 16mm.  feature  which  nearly  stole 
a  recent  show  was  written,  acted  and 
filmed  by  three  8mm.  workers,  who 
titled  it,  Maybe  I'm  Wrong.  Garbed  as 
Russians,  the  trio  went  out  in  sub  zero 
weather,  to  pack  into  a  short  film  as 
many  cine  sins  of  beginning  cinematog- 
raphers  as  they  could  think  of.  The  pro- 
duction not  only  unfolds  these  shooting 
errors  more  effectively  than  any  instruc- 
tion book,  but  it  packs  in  enough  slap- 
stick humor  to  make  the  thing  wholly 
enjoyable  even  to  non  filmers. 

Homes  as  well  as  home  towns  often 
provide  the  setting  for  super  thrillers, 
and  this  fact  was  especially  true  of  Bob 
Benchwarmer  in  Trouble,  the  first  pho- 
toplay ever  to  be  presented  at  a  Min- 
neapolis Cine  Club  Movie  Party.  A 
"take  off"  on  Robert  Benchley,  this 
unique  short  shows  the  adventures  of  a 
young  fellow  from  the  farm  who  leaves 
the  straight  and  narrow  path  when  he 
comes  to  the  city.  The  dual  role  of  at- 
torney and  unfortunate  youth  was  car- 
ried by  a  single  actor,  and  even  the 
cameraman  and  director  handled  minor 
parts. 

The  last  portion  of  the  program 
furnishes  the  least  work  for  the  edit- 
ing and  sound  crew,  since  most  prize 
winning  films  are  usually  prescored  and 
synchronized  with  sound  and  music. 

Naturally,  the  value  of  such  a  public 
screening  is  manyfold.  It  not  only  makes 
the  man  of  the  street  conscious  of  the 


MOVIE    MAKERS 


31 


possibilities  of  movie  making  with  sub- 
standard film,  but  it  also  enables  the 
filmer  himself  to  take  an  active  part  in  a 
professional  performance.  And  it  does 
even  more  than  that — for,  in  movie  mak- 
ing, one  can  learn  much  merely  by  sit- 
ting down  and  studying  the  successful 
work  of  others. 


How  libraries 


use  movies 

(Continued    from    page    19) 

The  film  was  directed  by  Hans  Burger 
who  skillfully  met  a  major  problem  of 
the  picture,  that  it  be  intelligible  to 
people  of  all  countries  without  barrier 
of  language.  The  sound  track  is  only 
music  and  no  subtitles  are  used,  but 
the  camera  has  communicated  the  whole 
story  so  vividly  that  no  words  are  need- 
ed for  interpretation. 

The  war,  of  course,  has  restricted  the 
use  of  this  film,  but  Latin  America, 
Canada  and  Australia  have  offered  op- 
portunities for  its  exhibition.  It  carries 
a  democratic  message,  an  intimate  and 
happy  picture  of  the  American  way  of 
life,  which  has  made  it  a  friendly  am- 
bassador at  large.  This  quality  was  not 
attained  by  chance.  One  reason  for  its 
effectiveness  may  be  that  many  people 
in  Montclair  were  asked  what  details 
they  enjoyed  observing  in  foreign  films. 
Many,  it  was  found,  liked  to  see  the 
houses  in  which  the  average  sort  of 
family  lived.  The  women  liked  to  see 
children  at  play  and  the  kitchens  in  the 
home.  One  person  complained  that  he 
had  never  seen  a  well  fed  dog  in  an  im- 
ported film.  So,  in  Portrait  of  a  Library, 
we  see  library  service  reaching  the  aver- 
age home  and  its  kitchen,  where  the 
housewife  prepares  a  meal  from  a  li- 
brary cookbook.  We  have  glimpses  of 
children,  happy  with  their  books,  and, 
yes,  of  a  beautiful  collie  following  his 
master  to  the  library. 

Among  the  16mm.  Kodachrome  films 
that  were  made  by  Lorene  and  Russel 
Kozak  for  the  New  York  Public  Library, 
an  experiment  has  been  tried  in  the  use 
of  motion  pictures  as  a  method  of  ex- 
hibiting rare  books.  Many  calls  come  to 
the  library  to  display  its  outstanding 
treasures — the  Gutenberg  Bible,  the 
Shakespeare  First  Folio,  the  Bay  Psalm 
Book,  the  Pitcairn  Bible  and  the  unique 
Columbus  Spanish  Letter,  which  has 
been  called  the  most  valuable  piece  of 
printing  in  the  world.  Some  of  these 
rarities  are  very  fragile,  and  it  has  been 
difficult  to  show  them  to  the  many 
groups  of  people  who  pass  through  the 
building.  The  film  now  provides  an  ever 
ready  exhibition,  in  which  these  great 
books  appear  in  flattering  colors  on  the 
screen. 

In  library  work  with  children,  the 
story  hour  is  a  popular  feature.  Some 
librarians  who  work  with  children  have 
used  movies  instead  of  the  customary 


With  the  present  heavy 
demand  for  WESTON 
Instruments  for  de- 
fense needs,  we  hope 
you  will  be  patient 
should  you  encounter 
a  slight  delay  in  deliv- 
ery. With  its  many 
exclusive  advantages, 
plus  its  proved  depend- 
ability, you'll  find  a 
Weston  is  well  worth 
waiting  for! 


he  approach  of  winter  brings  this  note  of  caution  to  the  exposure- 
wise  .  .  .  use  a  dependable  exposure  meter  to  be  sure  ol  repro- 
ducing each  scene  exactly  as  you  desire  .  .  .  obtaining  the  precise 
balance  you  want  between  the  deep  shadows  and  brilliant  high- 
lights. To  be  certain  of  consistently  satisfactory  winter  shots,  how- 
ever, you  also  must  be  sure  of  the  exposure  meter.  It  must  be 
extremely  flexible  in  operation  .  .  .  providing  you  with  a  simple 
and  convenient  method  of  accurately  controlling  the  film  density. 
Above  all,  it  must  provide  unfailing  dependability  in  light  measure- 
ment. Your  choice,  then,  will  be  the  time-tested  MASTER  .  .  .  with 
its  exclusive  WESTON  exposure  dial,  plus  the  reliability  of  an 
instrument  of  Weston  manufacture.  See  the  Master  at  your 
dealer's  today,  or,  write  for  literature.  Weston  Electrical  Instru- 
ment   Corporation,    626    Frelinghuysen    Avenue,    Newark,    N.    J. 


WESTON   £*p*ttw  rfketeM 


In  addition  to 
THE  ACL  MOVIE 
BOOK  The  Ama- 
teur Cinema 
League  offers  its 
members  these 
booklets 


THAT'S  NOT  ALL,  for  each  League  member  receives 
MOVIE  MAKERS  and  these  services 


*  Technical  Consulting  Service 

*  Continuity  and  Film  Planning  Service 
*Film  Review  Service 

*  Special  Services 


*  Equipment   Service 
*Club  Service 

*  Member  Film  Exchange 

*  Public  Relations 


AMATEUR  CINEMA  LEAGUE,  Inc. 

420  Lexington  Ave.  Date 

New  York,  N.  Y.,  U.  S.  A. 

I  wish  to  become  a  member  of  AMATEUR  CINEMA  LEAGUE,  Inc.  My 

remittance  for  $ ,  made  payable  to  AMATEUR  CINEMA 

LEAGUE,  Inc.,  is  enclosed  in  payment  of  dues.  Of  this  amount,  I 
direct  that  $2  be  applied  to  a  year's  subscription  to  MOVIE  MAKERS. 
(To  nonmembers,  subscription  to  MOVIE  MAKERS  is  $3  in  the 
United  States  and  possessions;  $3.50  in  Canada,  $3.50  in  other  coun- 
tries.) 

MEMBERSHIP    . $5  a  year 


Street 
City    . 


State. 


Jan.   '42 


Get  the  New  ACL 
MOVIE  BOOK,  the 
League  Booklets, 
MOVIE  MAKERS 
and  ALL  THESE 
SERVICES  for  only 
$5.00 
A  YEAR! 


32 


JANUARY    1942 


WHY? 


FOR    PERMANENT 

FILM 

PROTECTION 

against  climate,  heat, 
scratches  and  stains.  Valu- 
able for  all  films  .  .  .  vital 
for  color  films. 


•  Scratches,  spots  and  fingermarks 
disfigure  colors  MUCH  MORE  than 
shapes.  Distortion  from  heat  and 
emulsion  softening  can  throw  color  layers 
out  of  line.  Color  films  need  DEEP 
SEATED  chemical  protection  that  surface 
lacquers  and    lubricants  cannot   provide. 

Wise  Movie  Makers  follow  the  good  ex- 
ample of  the  Hollywood  producers  and 
the    U.    S.   government. 

ASK   YOUR   DEALER. 


vApr  Irate 


Better    photo    finishers    offer    VapOrate 
protection   for   still  negatives. 


VAPORATE  CO.,  INC. 
130  W.  46th  St. 
New  York  City 


BELL  &  HOWELL  CO. 
1801  (Larchmont,  Chicago 
716  No.  LaBrea,  Hollywood 


BUY 


FROM  BYRON'S^0 


i  MOVIE 
iqUIPMENT 


ON  YOUR 


We  carry  a  full  stock  of  all  na- 
tionally advertised  movie  cam- 
eras and  equipment.  We  don't 
have  expensive  price  catalogues, 
but  whatever  you  need,  write  us 
and  we'll  quote  you  the  lowest 
prices. 

WRITE  TO    DEPT.   M  M  J 


One  of  the  lead- 
ing Motion  Pic- 
ture    Producers 
in   the   East 


BYRON    S    InC.    Washington,   DC. 


IS  comi>jgtoi6mm  FILM 

WATCH  FOR  IT! 

J.A.MAURERJNC. 

11T  EASTJB"*-  ST.  NEW  YORK 


Kodachrome 

MAPS-£/iWjl-FINE  TITLES 

Geo.   W.   Colburn    Laboratory 

Special  Motion   Picture  Printing 

I  197-M  Merchandise  Mart,  Chicago 


Resolve: 

To  start  the  New  Year  right.  To  give 
your  films  their  rightful  heritage  in  TITLES 
that  will  make  them  outstanding.  To  have 
your  films  EDITED  so  that  their  message 
will  be  clear.  To  secure  the  best  in  these 
services  from 

STAHL 

Editing    &    Titling    Service,    Inc. 
33  West  42   St.,   New  York 

PROMPT,  EFFICIENT  SERVICE  IN  ALL  EDITING 
&   TITLING  —  8MM   —    I6MM   —    B&W-COLOR 


story.  They  have  found  difficulty  in 
getting  films  which  awaken  reading  in- 
terests in  younger  children;  but,  if  ex- 
posure to  books  is  the  first  step  toward 
reading  them,  films  certainly  have  been 
successful  in  bringing  children  to  the 
library.  In  the  Children's  Library  at 
Bogota,  Colombia,  a  Cultural  Theatre 
has  been  opened,  in  which  educational 
films  are  shown  almost  every  day. 

The  necessity  of  caring  for  film  and 
the  mechanics  of  projection  have  un- 
doubtedly discouraged  uninformed  li- 
brarians from  using  movies.  They  may 
be  moved  from  this  feeling,  perhaps,  by 
the  little  six  year  old  who  had  a  front 
row  seat  at  a  film  showing  in  the  Chat- 
tanooga (Tenn.)  Public  Library.  A  de- 
lay occurred  just  when  it  was  time  to 
see  her  favorite,  The  Adventures  of 
Bunny  Rabbit.  "Do  you  want  foh  me  to 
run  the  projectah?"  she  inquired  of  the 
librarian. 

At  the  Chattanooga  library,  amateur 
films  are  frequently  shown.  On  Saturday 
mornings,  amateurs  are  invited  to  the 
library,  where  they  screen  their  films 
and  tell  how  they  were  made.  The  films 
are  most  often  the  result  of  a  vacation 
trip  in  Mexico,  Canada  or  the  West  In- 
dies. 

If  librarians  could  choose  the  sub- 
jects, they  would  probably  ask  for  films 
which  record  the  interesting  events  and 
day  to  day  life  in  their  own  commu- 
nities. The  camera  is  a  historian,  and 
such  films  will  someday  have  great  in- 
terest and  value  as  a  record  of  local 
history.  One  hopes  that,  eventually, 
libraries  will  collect  such  films  so  that 
they  may  be  preserved  for  future  study. 
A  local  amateur  group  might  make  a 
film  about  its  community  or  one  of  its 
institutions  with  this  thought  in  mind. 
A  print  could  be  deposited  in  the  library 
as  a  permanent  record. 

Libraries  and  amateur  film  makers 
have  many  opportunities  for  coopera- 
tion. The  Mount  Vernon  (N.  Y.)  Public 
Library  is  now  planning  a  film  about  its 
activities,  which  the  Mount  Vernon 
Movie  Makers  expect  to  film.  Libraries 
can  often  provide  a  meeting  place  for 
the  amateurs,  and  together  they  might 
show  such  films  as  the  series,  You  Can 
Make  Good  Movies,  made  by  the  Har- 
mon Foundation.  Amateur  groups  can 
keep  the  library  informed  of  all  films 
that  are  made  and  owned  in  the  com- 
munity; from  this  information,  the  li- 
brary can  compile  a  union  film  catalog, 
which  would  provide  opportunities  for 
the  films  to  be  used.  If  the  library 
should  collect  or  help  to  distribute  ama- 
teur films,  it  can  cooperate  with  the 
amateur  organization,  in  setting  up  a 
library  film  committee.  Then,  when  an 
important  local  event  is  scheduled,  the 
committee  could  make  certain  that 
somebody's  camera  would  make  a  rec- 
ord of  it. 

A  few  libraries  now  own  films,  a  few 
show  films  and  a  few  assist  other  people 


to  use  films,  which  may  mark  a  trend 
toward  a  wider  use  of  films  by  libraries. 
But  why  will  an  institution  devoted  to 
the  printed  word  make  this  effort?  Why 
will  "'our  starving  libraries,"  as  they 
have  been  called,  take  on  a  new  re- 
sponsibility? 

The  reason  is  not  hard  to  find.  The 
library's  duty  is  in  the  preservation  and 
diffusion  of  ideas.  Traditionally,  it  has 
dealt  in  printed  and  manuscript  records. 
Now,  through  cinematography  and 
sound  recording,  newer  tools  for  the 
preservation  and  diffusion  of  ideas  are 
available.  They  are  powerful  tools,  and 
they  reach  people  who  have  never  been 
reached  through  books.  The  library's 
role  in  a  democratic  society  is  that  of 
informal  educator — the  "people's  uni- 
versity." To  fulfill  that  role,  the  library 
must  provide  the  materials  which  speak 
directly  to  people  and  from  which  peo- 
ple will  learn,  or  be  stimulated  to  learn, 
most  readily. 

The  film  outside  the  theatre,  the  "ed- 
ucational" film,  can  be  a  great  force  in 
spreading  knowledge  and  understand- 
ing. To  accomplish  this  dissemination 
requires  wider  distribution  and  better 
planned  utilization.  These  may  be,  and 
I  think  they  are,  needs  which  libraries 
can  help  to  supply. 

Make  your  own  dolly 

(Continued    from    page    15) 

tripod  legs  can  be  lined  with  metal,  by 
the  simple  process  of  cementing  a  No. 
12  thimble  in  each  hole  (Fig.  4). 

The  use  of  the  tripod  dolly  is  by  no 
means  limited  to  movie  filming.  The  still 
camera  user  will  find  use  for  it  when 
he  changes  from  one  camera  position  to 
another.  Also,  the  movie  maker  who  is 
fortunate  enough  to  own  a  projector 
stand  or  a  tripod  with  a  top  which  will 
support  his  projector  will  find  the  dolly 
an  ideal  means  of  moving  the  projector 
back  and  forth  until  the  projected 
image  exactly  conforms  to  the  screen 
size. 

If  one  of  your  films  is  to  be  presented 
in  a  school  or  church  gymnasium,  for 
example,  the  projector  can  be  mounted 
on  the  dolly.  Then,  before  the  audience 
arrives,  the  projector  can  be  threaded 
and  the  picture  can  be  carefully  framed 
and  focused  on  the  screen,  after  which 
the  entire  unit  can  be  rolled  out  of  the 
way  until  such  time  as  it  is  needed  on 
the  program. 


DON'T  GAMBLE 
If  you  are  used  to  one  kind  of  film, 
stick  with  it  throughout  your  vaca- 
tion. A  trip  is  not  a  good  occasion  on 
which  to  experiment  with  unfamiliar 
kinds  of  film.  Be  sure  to  take  a  good 
supply  even  if  you  do  not  use  it  all. 
The  film  will  still  be  good  for  a  long 
time — at  least  a  year  if  you  bought 
it  from  your  dealer. 


MOVIE    MAKERS 


33 


specter  column 


SUBTERRANEAN  MOVIE 


OVERCOMING  tremendous  difficul- 
ties in  lighting.  Robert  C.  Harns- 
berger,  ACL,  of  Luray,  Va.,  has  recent- 
ly completed  an  800  foot,  16mm.  color 
film,  entitled  The  Beautiful  Caverns  of 
Luray.  The  movie  is  to  be  used  for  edu- 
cational and  publicity  purposes  by 
Luray  Caverns  Corporation,  which  will 
lend  prints  to  schools,  clubs  and  other 
civic  and  social  organizations. 

Map  leads  off 

The  picture  opens  with  a  map  and 
scenes  of  the  Skyline  Drive,  to  locate 
the  caverns  in  northwestern  Virginia. 
This  sequence  takes  us  to  the  entrance 
of  the  caves,  and  it  is  followed  by  a  trip 
through  the  caverns  with  a  guide,  who 
points  out  the  interesting  features  to  a 
group  of  tourists. 

Shown  in  the  film  are  the  Saracen's 
Tent  (see  frame  five)  which  is  com- 
monly considered  to  be  one  of  the  most 
striking  underground  rock  formations 
in  the  world.  Other  strange  rock  forma- 
tions, like  the  one  shown  in  frame  six, 
are  included. 

Indirect  teaching 

Mr.  Harnsberger  painlessly  inserts  a 
great  deal  of  educational  material  which 
the  audience  absorbs  without  really  being 
aware  of  it.  Members  of  the  party  ask 
questions,  ingenious  titles  are  used  and 
the  guide  is  a  fountain  of  information. 

The  customary  illumination  in  the 
caverns  is  far  too  limited  for  filming; 
but,  with  the  cooperation  of  the  Luray 
Caverns  authorities,  Mr.  Harnsberger 
was  allowed  to  string  cables  from  the 
main  power  line  for  his  battery  of 
flood  lamps.  However,  this  cooperation 
was  a  special  dispensation  accorded 
only  for  this  one  film,  and  not  one  that 
would  be  granted  to  any  tourist. 

Intense  light 

Regarding  the  lighting  problem,  Mr. 
Harnsberger  writes,  "I  could  fill  a  book 
with  the  difficulties  of  filming  in  cav- 
erns. Obtaining  enough  illumination  was 
a  constant  source  of  worry.  I  used  the 
equivalent  of  45.000  watts  of  light  on 
the  scenes  and  shot  nearly  all  of  them 
at  eight  frames  a  second.  Many  scenes 
were  exposed  at  //1.5." 

The  accompanying  illustrations  will 
give  an  idea  of  how  well  the  camera- 
man overcame  the  obstacle  of  insuffi- 
cient light. 

Production  staff 

Mr.  Harnsberger's  assisting  staff  was 
as  follows:  assisting  movie  maker, 
W.  C.  Harnsberger;  electrician,  R.  E. 
Lawrence;  property  man.  Amos  Alger; 
illumination,  John  Long,  jr..  and  Willis 
Brubaker. 


HISTORIC  HOME  MOVIES 

BY 

OFFICIAL  FILMS 

8  MM.  16  M  M. 

The  Axis  has  struck  at  these  United  States. 
We  are  at  war.  What  the  following  months 
will  bring  no  one  knows.  But  Official  Films 
will  do  its  utmost  to  bring  you  the  record  of 
America's  most  crucial  time.  Beginning  now, 
Official  Films  offer  a  new  series  of  one  reel 
Films  (16  mm.  Silent  or  Sound  and  8  mm. 
Silent)  ;  a  series  to  be  known  as  "America's 
Fight  For  Freedom". 

The  first  volume,  dealing  with  the  events 
leading  to  the  treacherous  attack  by  Japan 
and  the  Axis  Powers  is  now  ready.  Additional 
volumes  will  be  released  with  news-flash 
timeliness  as  events  develop.  Every  American 
will  want  to  own  these  vivid  pictorial  records 
of  America's  fight  against  the  ruthless  forces 
of  the  Axis.  Order  Volume  One  today  from 
your  photographic  dealer  and  place  an  ad- 
vance order  with  him  for  future  volumes  so 
you  may  be  sure  of  prompt  delivery.  These 
films  will  all  be  released  at  Official  Films's 
usual  low  prices: 


8  M  M.— SILENT 


16  MM 


1   SILENT 

j    SOUND 


$5.50 

$8.75 

$17.50 


Send  for  FREE  illustrated 
Catalogue  of  over  50  films 


ORDER   THESE  FILMS   FROM   YOUR 
Dl 


DEALER  TODAY  ^  —'— — — " j 

&■«"       '    ""     ,       .  .u„  fallowing:  __ 


Address 
City    ■■ 


Frames  from  "The  Beautiful  Caverns 
of  Luray,"   success  discussed   here 


Official  Films 


330  WEST  42nd  STREET,  N.  Y.  C. 


34 


JANUARY    1942 


GOERZ 

KINO-HYPAR 
LENSES 

f:2.7  and  f:3 

For   regular   and    color    movies   of   surprising 
cjuality,    high    chromatic    correction    .    .   . 
Focal_  lengths    15mm    to    100mm— can    be    fitted 
in    suitable    focusing    mounts    to    Amateur    and 
Professional   Movie  Cameras 


GOERZ  Reflex  FOCUSER 


—  Patented  — 

for  16mm  Movie  Camera  users — voids  PARALLAX 

between     finder     and     lens  —  provides     full-size 

ground-glass  image  magnified   10  times.  Adapt- 

i  able  to  lenses  3"  and  up.  Also  useful  as  extension 

j'  tube  for  shorter  focus  lens  for  close-ups.   Exten- 

*  sively  used  in  shooting  surgical  operations,  small 

animal  life,  etc. 


GOERZ  Parallax-Free  FOCUSER 
and    FIELD    FINDER    CONTROL 

for  Filmo  121  and  Simplex-Pockette,  no  more  off- 
J  center  pictures,  magnifies  4  and  8x. 

For    Detailed    Information    Address 
Dept.  MM-1 

C.  P.  Goerz  American  Optical  Co. 

317  East  34th  St.,  New  York 

American  Lens  Makers  Since  T899 


QAlliLed  Soiled 

IS  COMING  TO  l6MM  FILM 

WATCH  FOR  IT! 
J.A.MAURERJNC 

tlT  EAST  2V  ST.  NEW  YOBK 


"Daniel  Boone" 

and  many  other   16mm   rental  Films 

Please  specify  sound  or  silent  when  writ- 
ing for  free  catalogue. 

EWIS  FILM  SERVICE 

216   E.   1st  Wichita,  Kansas 


EXPOSURE  METER  REPAIRS 

Our  repair  department  is  well  equipped  to  repair  any 
make    of    photo-electric    meter,    foreign    or    domestic. 

Restore      your      expensive      meter      to      service. 

For    prompt    service    at    reasonable    charges    send    by 
parcel  post  direct  to 

).  THOS.  RHAMSTINE*  Meter  Service  Dept. 

303   BEAUBIEN   ST.,    DETROIT,    MICH.    

FAMOUS  KNIGHT  METAL  LETTERS 
FOR  MOVIE  TITLES 


Ask  for 

samples 

of  the 

most 

beautiful 

capital 

and  lower 

case 

letters 

made 


pttla  your  /M»«  wtfj), 

|  METAL  Letters  ' ' 


Closeups  — What  filmers  are  doing 


Deluxe  sets,  225  pieces  in  case  with  corner  pieces, 
tweezers  and  cement  $9.54  (includes  tax)  net.  160 
Piece  font  $7.42.  Specify  white  or  black. 

H.W.  KNIGHT  &  SON,  INC.,  Seneca  Falls,  N.Y. 


In  New  York  City  for  the  Christmas 
holidays,  from  his  sheep  ranch  at  Wor- 
land,  Wyo.,  Alexander  Healy,  jr.,  has 
been  a  welcome  visitor  to  the  League's 
headquarters,  where  he  once  worked. 
Mr.  Healy  was  associated  with  the 
League's  continuity  department  for 
more  than  two  years.  Since  returning 
to  sheep  ranching,  he  reports  that  he 
has  tried  to  follow,  in  his  own  present 
productions  about  his  business,  the  pre- 
cepts of  good  filming  which  he  once 
taught  to  others. 

Add  to  Those  Things  We  Never  Knew 
Till  Now  the  fact  that  gold  mining  is 
one  of  the  chief  industries  of  Colombia, 
in  South  America.  J.  Ross  Weather- 
head,  ACL,  of  Medellin,  brought  it  to 
our  attention  when  he  wrote  to  the 
League,  asking  for  suggestions  on  a 
film  of  gold  mining  which,  he  says,  is 
carried  on  extensively  in  many  differ- 
ent ways.  We  suggested  a  treatment  of 
the  subject,  called  Timeless  Treasure, 
and  look  forward  to  seeing  the  finished 
film  packed  in  at  least  gold  plated 
humidor  cans. 

As  you  read  this,  Benjamin  F.  Farber, 
jr.,  ACL,  should  be  formally  embarked 
on  the  United  States  Navy's  course  of 
training  as  a  cadet  pilot  in  naval  avia- 
tion. Mr.  Farber  served  for  twenty  six 
months  on  the  League's  staff  in  the  con- 
tinuity department.  Since  that  time,  he 
has  been  active  in  many  phases  of  non 
theatrical  film  planning  and  produc- 
tion and  was  to  have  served  the  Navy 
in  the  motion  picture  field  until  the 
outbreak  of  hostilities. 

Back  in  your  August,  1940,  number  of 
Movie  Makers,  you  will  find  an  ac- 
count of  a  universal  remote  camera 
control,  designed  by  Dudley  E.  Porter, 
ACL,  of  Beverly  Hills,  Calif.  This  in- 
genious "gadget,"  it  seems,  has  been 
taking  to  the  skies  recently,  to  operate 
16mm.  cameras  trained  on  the  instru- 
ment panels  of  new  airplanes  on  their 
test  flights,  thus  recording  data  for 
future  engineering  study.  On  one  such 
recent  flight,  however,  an  entire  wing 
of  the  test  ship  broke  off,  coming  out 
of  a  dive,  crashing  the  airplane  and 
killing  the  pilot.  Mr.  Porter's  robot, 
keeping  the  camera  turning  through- 
out this  tragic  accident,  brought  back 
an  invaluable  record  of  the  airplane's 
behavior  during  its  final  plunge. 

Illustrated  on  this  page  are  the  designs 
of  the  Ten  Best  and  Honorable  Men- 
tion award  leaders  for  1941.  In  the 
event  that  you  were  not  among  the 
lucky  twenty  five  filmers  who  placed  in 
these  categories,  we  thought  that  you 
might  like  to  see  what  the  film  awards 
look   like.   In   the   original   and  in   the 


The  1941  Ten  Best  and  Honorable 
Mention    leaders    have    new    design 

Kodachrome  copies,  the  design  was 
executed  on  a  brilliant  blue  ground, 
with  lettering  in  gold  and  black  and 
the  perspective  shaded  by  air  brushing, 
also  in  color. 

To  Marcel  Tetrault,  of  Edmonton,  Al- 
berta, goes  this  month's  award  of,  say, 
an  empty  film  spool  for  the  most  attrac- 
tive letter  of  the  period.  Quite  apparent- 
ly a  linotype  compositor,  Mr.  Tetrault 
addressed  an  epistle  of  some  six  para- 
graphs to  our  Technical  Department, 
fully  printed  in  type  on  a  standard  strip 
of  galley  proof  paper.  The  set  was  a 
single  column,  sixteen  picas  wide,  and 
it  seemed  to  be  eight  point  on  a  ten 
point  slug.  Curious,  we  slipped  the  gal- 
ley to  our  staff  proofreader,  who  reports, 
admiringly:  "A  broken  letter  'h'  in  line 
11  of  par.  4;  a  dropped  'e'  in  line  10, 
par.  5." 

It  seemed  rather  like  a  page  out  of 
Robert  Service  when  we  heard  the  other 
day  from  Earl  L.  Clark,  ACL,  a  mem- 
ber of  the  Ontario  Provincial  Police,  in 
Canada.  Ordinarily  stationed  near  his 
home  in  Hamilton,  Mr.  Clark  was  then 
700  miles  north,  in  the  gold  mining  re- 
gion of  King  Kirkland,  on  special  as- 
signment. In  concluding  his  interesting 
report,  he  wrote,  "Please  excuse  the 
writing.  I  am  using  an  old  beer  barrel 
for  a  table,  seated  in  a  log  cabin  where 
the  wind  whistles  down  the  chimney 
and  the  thermometer  reads  fifteen  be- 
low zero."  We  can  just  see  his  only 
candle  stuck  drunkenly  in  an  old  whis- 
key bottle! 


MOVIE    MAKERS 


35 


The   Automatic    Splice    Marker 
and  Brilliant  Viewer 


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The  Baia  Motion  Picture 
Engineering  Co. 

166  Victor  Avenue 
Highland    Park,    Michigan 


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THIS  NEW  CATALOG  IS  OF  EXCEPTIONAL 
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coils.  100  printed  continuity  slips  and  simplified  direc- 
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MARATHON  PHOTO  SUPPLY  CO.,Box415-B,Wausau,Wis. 


(Continued    from    page    25) 

for  his  "stunt,"  but  it  can  be  worked 
with  black  and  white  as  well,  although 
it  is  desirable  to  experiment  with  a  few 
test  shots,  to  find  the  exact  exposure  in 
your  individual  case. 

Light  frames    We  know  tnat  some 

cameras  produce  a 
light  or  overexposed  frame  at  the  start 
of  each  scene.  Most  movie  makers  cut 
out  this  light  frame  when  they  are  edit- 
ing their  films,  but  some  do  not.  If  one 
does  not  eliminate  these  frames,  every 
time  a  new  scene  reaches  the  screen,  it 
is  preceded  by  a  quick  flash  of  light 
that  can  become  very  tiring  to  the  eyes 
of  the  viewer.  Cutting  out  these  flashes 
will  make  a  presentation  that  is  infinite- 
ly better.  Sometimes  a  minor  repair  to 
your  camera  will  prevent  the  appear- 
ance of  light  frames;  but,  if  you  dis- 
cover them  in  your  own  movies,  you  had 
best  write  to  the  manufacturer  of  your 
particular  camera  about  the  problem. 

Title  Contrast  0ne  of  the  prob- 
lems confronting 
movie  makers  who  film  their  own  cap- 
tions is  that  of  proper  contrast  in  title 
footage,  and  we  welcome  the  sugges- 
tions of  Edward  J.  Kingsbury,  jr.,  ACL, 
who  writes  as  follows,  "As  you  know, 
the  letters  of  a  title  must  be  pure  white 
on  a  jet  black  background,  if  you  plan 
to  add  a  background  scene  by  a  second 
exposure.  The  usual  method  of  typing 
the  title  with  a  silver  or  white  ribbon 
on  black  paper  is  good  enough  for  a 
regular  title;  but,  if  a  scenic  or  other 
background  is  to  be  added,  it  is  neces- 
sary to  overexpose  the  title  itself  slight- 
ly, if  the  wording  is  to  stand  out,  since 
it  is  seldom  possible,  otherwise,  to  make 
the  letters  as  white  as  desired.  However, 
if  the  title  card  is  overexposed,  then  the 
background  scene  will  lose  its  sparkle. 
"Thus,  it  is  desirable  to  have  a  title 
with  jet  black  background  and  pure  white 
letters  and  then  to  expose  it  correctly. 
The  procedure  in  making  a  title  card 
that  meets  these  requirements  is  as  fol- 
lows. Type  the  title  in  black  on  a  thin 
sheet  of  white  paper  or  cellophane  and 
make  a  contact  print  from  it  in  the  same 
way  in  which  you  would  make  a  print 
from  an  ordinary  still  picture  negative. 
The  print,  after  being  developed  in  the 


//I  I 
If  your  meter  indicates  an  exposure 
of  //16  or  //22  for  a  Kodachrome 
shot,  set  your  camera  at  //ll  for  that 
particular  scene.  Almost  every  color 
shot  which  was  filmed  at  //16  has 
been  underexposed,  even  though  the 
picture  was  taken  in  the  mountains, 
desert,  tropical  waters  or  on  bright 
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36 


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usual  way.  will  have  good  contrast,  and 
the  lettering  will  be  in  white  against  a 
black  background.  To  insure  strong  con- 
trast, it  is  a  good  idea,  when  you  type 
the  title,  to  place  a  sheet  of  carbon 
paper  behind  the  paper  or  cellophane, 
with  the  inked  side  toward  the  paper, 
and  to  strike  each  letter  of  the  title 
twice.  The  photographic  paper  should 
be  of  a  high  contrast  type,  and  it  should 
have  a  matte  surface.  If  you  prefer  to 
type  on  paper  rather  than  on  cello- 
phane, try  using  a  thin  sheet  that  is 
made  from  carbon  copies." 

There's  fun  in  titles 

(Continued    from    page    14) 

ward  the  camera.  Out  of  yellow  paper, 
I  cut  the  letters  S,  W,  I,  M  and  placed 
them  upright  on  the  mirror  and  against 
the  towel.  Their  golden  richness  and  the 
royal  blue  of  the  towel  were  reflected  in 
the  mirror.  Perfect! 

I  filmed  the  setup,  lying  on  my  stomach, 
with  the  camera  on  the  floor.  First  I 
focused  carefully  and  then,  after  I  start- 
ed the  camera,  I  whispered  S,  W,  I,  M 
three  times  and  stopped  the  clicking. 
I  got  what  I  wanted.  The  titler  had  been 
wonderful — but  my  furniture  was  prov- 
ing to  be  grand  as  stage  sets. 

There  followed  a  number  of  settings 
with  walls,  doors,  upset  tables,  chairs 
and  the  floor  for  backgrounds.  Then  I 
graduated  to  a  real  miniature  stage  set 
— as  described  in  one  of  the  camera 
books.  We  made  it  here  at  home. 

From  one  of  its  struts  I  hung  a  heav- 
enly blue  evening  dress  and,  on  the 
background  of  the  floor  of  its  stage,  I 
bunched  a  green  wool  coat,  so  that  it 
made  hills  along  the  edge  of  a  mirror 
lake.  I  placed  white  letters  upright 
against  the  coat,  so  that  they  formed 
the  words,  Lake  Ripley.  The  letters,  of 
course,  were  reflected  in  the  mirror.  I 
'"panned"  slowly  across  this  title  scene, 
moving  the  camera  from  left  to  right. 
For  eight  seconds  I  kept  the  camera 
clicking.  I  spelled  the  words  aloud  as 
I  went  along.  The  product  is  my  pride 
and  joy. 

A  black  dress  backdrop  formed  a  per- 
fect setting  for  a  jointed  orange  cat.  He 
wiggles  his  head  and  arms,  to  herald 
the  coming  of  Hallowe'en  pictures.  I 
wound  up  the  cat,  I  clicked  the  camera 
and  watched  him  perform.  Presto!  A 
title  was  made. 

Another  time  I  pulled  a  waddling 
duck  across  the  stage  by  means  of  a 
long  string.  He  precedes  some  baby 
scenes.  I  warn  you — one  idea  leads  to 
another.  You  will  soon  be  begging  to 
do  some  titles  for  your  friends,  to  satisfy 
your  craving  to  create  title  effects. 

I  used  color  film  exclusively  for  this 
particular  film,  because  all  the  scenes 
were  in  color.  However,  black  and  white 
film  could  be  made  to  perform  equally 
unusual  and  interesting  things. 


JANUARY    1942 

Now  that  I  have  heard  of  turning  the 
16mm.  camera  upside  down,  I  shall  film 
blocks  that  spell  out  my  title,  after 
which  I  shall  upset  them  by  pulling  a 
string  that  lies  under  them.  All  the 
while  I  shall  be  filming  this  action. 
When  I  splice  the  segment  in,  I  shall 
splice  it  "north  end  south,"  so  to  speak, 
being  careful  not  to  get  the  dull  and 
slick  sides  in  wrong.  The  result  will  be 
that  the  blocks,  lying  in  complete  dis- 
order, spring  into  place  to  spell  the  title. 
It's  magic. 

The  line  of  ideas  is  never  ending. 
Possibilities  leap  at  me  at  all  hours,  in 
all  locations.  I  am  now  a  snipper  of 
pictures  from  magazines,  cards,  circu- 
lars. I  save  pieces  of  materials  and 
boxes.  The  web  has  caught  me  up,  but 
it  gives  me  many  hours  of  delight. 

Titles  at  home?  There  couldn't  .be 
more  fun! 

Practical  films 

(Continued    from    page    18) 

to  signs  and  signals,  is  shown  as  a 
model  for  the  car  driver.  The  film, 
which  was  released  in  the  middle  of 
November,  is  designed  for  restricted 
distribution,  and  its  presentation  will 
be  accompanied  by  a  trooper  or  by 
some  member  of  the  Police  Safety  De- 
partment. 

Popular  Rose  Film 

W.  H.  Mecom,  ACL,  of  Houston, 
Texas,  reports  that  the  film  that  he  pro- 
duced for  the  Freeport  Sulphur  Com- 
pany, of  the  same  city,  has  been  screened 
in  nineteen  States.  Roses  at  Home,  a  900 
foot,  16mm.  color  production,  traces, 
with  elaborate  care  and  scientific  pre- 
cision, the  proper  methods  of  planting 
and  cultivating  roses,  ending  with  rose 
displays  in  the  home.  Mr.  Mecom  ac- 
knowledges the  aid  of  the  Texas  Agri- 
cultural Experiment  Station,  especially 
by  Dr.  J.  C.  Ratsek,  horticulturist,  and 
Dr.  E.  W.  Lyle,  plant  pathologist  of  the 
Sub  Experiment  Station,  Number  2,  at 
Tyler,  Texas.  Roses  at  Home  is  offered 
on  the  free  loan  basis — see  Free  Film 
Revieivs  in  this  number  of  Movie  Mak- 
ers. 

Medical  Film  Library  at  Temple 

Robert  Mallory,  ACL,  of  Philadel- 
phia, is  completing  a  series  of  medical 
films  for  the  proposed  library  of  ob- 
stetrical movies  at  the  Temple  Univer- 
sity Hospital.  The  doctor  featured  in 
these  films  is  Dr.  Thaddeus  L.  Mont- 
gomery, professor  and  head  of  the  De- 
partment of  Obstetrics  and  Gynecology 
at  the  Temple  School  of  Medicine  in 
which  Mr.  Mallory  is  enrolled.  Also  re- 
cently completed  is  a  16mm.  Koda- 
chrome  movie,  Nerve-Muscle  Prepara- 
tion of  a  Frog,  for  the  Physiology  De- 
partment. In  this  film,  Mr.  Mallory  was 
permitted  to  use  two  sets  of  reflectors 


MOVIE    MAKERS 


37 


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WHEN  YOU  PLAN 

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Don't  forget 

MOVIE  MAKERS 

1942  Selection 

of  the  TEN  BEST  and 

THE  HIRAM  PERCY 

MAXIM  AWARD 

It  is  the  oldest  annual  selec- 
tion of  amateur  movies  in 
the  world.  To  win  the  Hiram 
Percy  Maxim  Award  or  to 
win  a  place  in  Movie  Makers 
Ten  Best  is  to  capture  the 
greatest  honor  offered  to 
movie  makers. 

Any  amateur  movie  is  elig- 
ible for  consideration  for  the 
1942  Ten  Best  and  any  ama- 
teur movie  not  made  for 
compensation  from  a  client 
is  eligible  for  consideration 
for  the  Hiram  Percy  Maxim 
Award,  with  its  prize  of 
$100.00  cash. 

Plan  your  films  with  an  eye  to 
submitting  them  to  MOVIE 
MAKERS  for  1942  honors. 

MOVIE  MAKERS 

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New  York,  N.  Y. 


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Amateur  and  Professional  classes  now  forming. 
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with  No.  2  bulbs.  However,  in  other 
films  of  operations,  he  worked  success- 
fully with  a  telephoto  lens  and  only  the 
ordinary  operating  room  illumination. 

Courses  by  ACL  Members 

Three  members  of  the  Amateur 
Cinema  League  are  giving  courses  in 
movie  making  this  winter,  two  in  New 
York  City  and  one  in  Buffalo,  N.  Y. 
Charles  H.  Coles,  ACL,  chief  photog- 
rapher of  the  American  Museum  of 
Natural  History,  is  giving  a  course,  on 
alternate  Fridays,  at  the  Art  School  of 
the  Brooklyn  Museum,  called  Motion 
Picture  Photography  for  Amateurs. 
Every  step  in  the  production  of  amateur 
motion  pictures  is  included. 

Kenneth  F.  Space,  ACL,  the  League's 
technical  consultant,  has  a  weekly 
course,  on  Thursday  evenings,  at  the 
New  York  University  School  of  Educa- 
tion, called  Elementary  Movie  Making 
for  Educational  Purposes. 

George  F.  Thomas,  ACL,  has  been 
conducting  a  course,  Monday  evenings, 
at  the  Buffalo  Museum  of  Science.  The 
course  is  called  Making  Movies,  and 
many  amateur  productions  will  be  used 
for  illustrative  purposes. 

Cornerstone  to  Moving  Day 

Starting  his  film  record  on  the  day 
that  the  cornerstone  was  laid,  J.  George 
Cole,  ACL,  has  finished  a  two  reel 
movie  in  16mm.  of  the  Trenton  (N.  J.) 
Housing  Project.  Aided  by  J.  Connor 
French,  chairman  of  the  project,  Mr. 
Cole  begins  his  film  with  scenes  of 
Trenton  slums  before  the  housing  de- 
velopment was  initiated.  The  movie 
then  presents  the  cornerstone  ceremony 
and  next  shows  a  record  of  the  con- 
struction of  the  buildings.  Concluding 
scenes  show  families  in  their  new 
homes.  A  local  civic  group  asked  Mr. 
Cole  to  make  the  film  for  publicity 
purposes. 


Bailey  Reports 


The  completion  of  three  new  films  is 
announced  by  Bailey  Film  Service,  of 
Hollywood,  Calif.  Two  musical  films  in 
16mm.  sound  have  appropriate  pictorial 
backgrounds  which  intensify  the  effect 
of  the  music  and  which  add  a  visual 
interest.  Londonderry  Air  features  Eu- 
gene Ormandy  and  the  Minneapolis 
Orchestra,  and  In  a  Monastery  Garden 
presents  Lew  White  at  the  organ  and 
an  accompanying  harp  and  chorus.  The 
third  release,  Iron  Mining  and  Manu- 
facture, portrays  the  story  of  iron,  from 
the  mines  near  Marquette,  Mich.,  to  the 
blast  furnaces  in  Detroit.  A  study 
guide  is  included  with  this  film,  making 
it  suitable  for  high  school  and  trade 
school  use. 


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38 


JANUARY    1942 


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CLUB  HAS  RATING  CHART 

DEAN     H.     ASHTON,     ACL 

THERE  is  something  about  a  movie  camera  that  gives  the  average  man  or  woman 
an  unexplained  superiority  complex. 

With  occasional  exceptions,  the  conclusion  is  reached  that  the  pictures  taken 
are  a  few  notches — if  not  quite  several — above  the  efforts  of  ordinary  mortals. 
Like  as  not,  that  feeling  of  elation  arises  largely  because  the  film  laboratory  has, 
through  its  seeming  magic  and  wizardry,  done  excellent  work  with  a  ribbon  of 
celluloid  that  is  no  better  than  average. 

Many  may  prefer  to  continue  happy  in  their  own  delusion.  However,  others  seek 
occasionally  to  have  a  cold  appraisal  made  of  their  filming  efforts.  Many  of  the 
clubs  that  are  organized  by  amateur  movie  makers  devote  a  considerable  part  of 
their  time  to  friendly  criticism  of  films  that  are  projected  at  their  meetings. 

In  handling  this  activity,  some  clubs  have  adopted  a  definite  rating  chart.  After 
a  two  years'  experience  with  ratings,  through  the  sponsorship  of  a  local  Film  of 
the  Year  contest,  the  Trenton  (N.  J.)  Movie  Makers,  one  of  the  active  groups  in 
the  East,  has  now  adopted  an  official  chart. 

It  is  offered  here  for  the  consideration  of  other  amateur  movie  clubs. 


Camera  technique  (45%) 

Proper  exposure  and  lighting 

Choice  of  angles 

Proper  length  of  scenes 

Steadiness 
Structure  and  editing  (25%) 

Interesting  opening 

Well  established  continuity  or  sequence 

Pleasing  or  convincing  climax 
Titles  (15%) 

Main    title     (allow    1%    to    5%    according    to 
effectiveness) 

Subtitles  (allow  1%  to  10%  according  to  how 
much  they  add  to  effectiveness  of  film — 
consider  if  they  are  inserted  in  logical 
sequence,  if  they  are  adequate  in  number, 
how  well  they  are  phrased,  choice  of  mate- 
rial and  so  forth) 
Entertainment  value  (15%) 

Subject  matter 

Suggestion: 

If  very  interesting,  up  to  15% 
Interesting,  10%  to  12% 
Mildly  interesting,  5%  to  9% 
Lacking  appeal,  0%  to  4% 


Maximum1 
rating  % 

25% 
10% 

5% 

5% 

5% 

15% 
5% 


%  Obtained 


10% 

15% 


Total     100 


7c 


Producer 


Date 


Title  of  film 


9/i-L 

SAW 


1 327  S.  WABASH  AVE.  CHICAGO,  ILL. 


'You  know,  I  sometimes  think  the  Smythes  are  overdoing  their  hobby.' 


MOVIE    MAKERS 


39 


Amateur  clubs 

(Continued    from    page   21) 

Crosley,  ACL,  for  his  film,  The  Doctor 
Takes  A  Wife,  with  Bob  Allen  reported 
a  close  second  with  Canada's  Peace. 
Other  place  winners  were  Mr.  Crosley, 
with  Sea  City,  and  Dr.  Ira  T.  Parker, 
for  Happiness  Ahead.  Music  and  sound 
effects  on  disc  accompanied  all  the  films 
in  their  award  winning  presentations. 

Washington  8's  elect  New  offi- 
cers for 
the  coming  year  have  been  elected  and 
announced  by  the  Washington  8mm. 
Movie  Club,  as  follows:  William  J. 
Brown,  ACL,  president ;  Maurice  Hejnal, 
ACL,  secretary  and  treasurer.  William 
S.  McConnell,  ACL,  retiring  president, 
was  seated  on  the  board  of  directors. 
Films  seen  at  the  election  meeting  were 
Enchantment  Through  Beauty,  a  16mm. 
sound  on  Kodachrome  publicity  film, 
produced  by  Byron's,  Inc.,  of  Washing- 
ton; Mexican  Color,  three  reels  of  8mm. 
color  footage,  produced  by  Enrique  C. 
Aguirre,  ACL,  of  Mexico  City,  and  pre- 
sented to  the  club  by  Al  W.  Sivewright. 

Metro  Sees  Members'  films  have 
been  the  featured 
screen  fare  at  early  season  meetings  of 
the  Metro  Movie  Club,  gathered  in 
Chicago's  River  Park  Field  House.  The 
programs  have  included  The  West  In- 
dies, by  George  P.  Jensen;  A  Western 
Vacation,  by  Fritz  Weidig;  Alaska,  by 
William  Thumann ;  European  Holiday, 
by  A.  H.  Elliott,  ACL;  People  and 
Places  of  Chicago,  Highway  66  and 
Symphony  in  Color,  by  E.  H.  Olds. 

A.M.S.  in  Salon  Members  of  the 
Amateur  Movie 
Society  of  Milwaukee  took  part  this 
fall  in  the  All  Milwaukee  Photographic 
Salon,  the  first  time  in  the  history  of 
this  project  that  amateur  motion  pic- 
tures have  been  represented.  Mayor 
Carl  Zeidler  opened  the  ten  day  festival 
with  a  dinner  at  the  City  Club,  while 
two  days  later  the  A.M.S.  presented 
a  full  evening's  program  of  prize  win- 
ning color  films  at  the  Layton  Art 
Gallery,  as  its  contribution  to  the  pho- 
tographic gathering. 

Awards  in  Australia    Brown  Men 

and  Red 
Sands,  a  16mm.  Kodachrome  record 
film  of  an  expedition  into  the  interior 
of  Australia,  took  first  award  and  the 
A.  J.  Sherlock  Gold  Cup  in  the  an- 
nual competition  recently  concluded  by 
the  Australian  Amateur  Cine  Society, 
in  Sidney.  It  was  produced  by  C.  J. 
Mountford,  of  Adelaide.  Second  award 
and  the  F.  W.  Pratt  Silver  Trophy 
went  to  Fred  C.  Ells,  FACL,  for  his  one 
reel,  Kodachrome  study,  New  Hamp- 
shire  on   Parade.    Mr.    Ells,    a    distin- 


guished internationalist  in  amateur 
movies,  serves  as  liaison  officer  for  the 
Australian  society  in  the  United  States. 
C.  W.  Francis,  of  Queensland,  took 
third  place  with  his  single  reel,  color 
record,  Lamington  National  Park.  The 
judges  were  Reginald  Perier,  of  Rob- 
erts Russell  Pty.,  Ltd.,  and  Tom  Price, 
of  Kinelab  Pty.,  Ltd. 

Kenosha  awards     About  150  mem" 

bers  and  guests 
attended  the  recent  annual  contest  meet- 
ing of  the  Kenosha  Movie  Makers  Club, 
in  Wisconsin,  with  first  award  going  to 
W.  W.  Vincent,  jr.,  ACL,  for  Dad  and 
I  Take  a  Walk.  Lewis  Rasmussen,  ACL, 
took  second  place  with  Northern  Pines. 
Other  place  winners,  in  order,  were  Ar- 
line  Yonk,  ACL,  Earle  Munger  and 
Dick  Cunningham,  jointly,  and  Eldon 
Voelz.  The  judges  were  Leo  Calvin, 
Clarence  Baylor,  Gustave  Sanftheil  and 
C.  Boardman. 

For  Hartford  Where  The  Americas 
Meet,  the  feature 
length  travelog  of  Puerto  Rico,  which 
recently  won  Honorable  Mention  for 
Esther  and  Morton  H.  Read,  ACL,  was 
presented  late  in  November  by  Mr.  Read 
before  members  of  the  Hartford  Cinema 
Club.  The  film  is  accompanied  with  an 
effective  narrative  and  musical  scoring. 
At  an  earlier  gathering,  held  at  the 
Avery  Memorial,  members  of  the  cine 
group  joined  with  the  Hartford  County 
Camera  Club  at  an  illustrated  lecture, 
Recent  Developments  in  Color  Photog- 
raphy, presented  by  Herbert  H.  John- 
son, of  the  Eastman  Kodak  Company. 

Chicago  Chooses  The  Chicago 
Cinema  Club, 
ACL,  veteran  movie  group  of  the  Mid- 
west, has  elected  new  officers  for  the 
coming  year  as  follows:  Isidore  Vise, 
president;  M.  A.  Hagel,  vicepresident; 
Edward  Bezazian,  treasurer;  Barbara 
Hubbard,  secretary.  Serving  with  them 
on  the  board  of  directors  are  Peter 
Bezek,  A.  G.  Diedricksen,  Charles  Ed- 
wards and  George  Kirk,  ACL.  Recent 
program  items  have  included  Nature's 
Western  Playground,  by  T.  H.  Phillips ; 
Sailing  Sheltered  Seas  to  Alaska,  by 
Arthur  Josephson;  Soviet  Russia,  by 
Lily  Thye. 

Exchange  in  Illinois     A  successful 

exchange  of 
outstanding  amateur  films  between  two 
clubs  in  Illinois  has  recently  provided 
an  effective  program  for  each  group. 
The  cooperating  units  were  the  Rock- 
ford  Movie  Makers,  ACL,  and  the  Tri- 
City  Cinema  Club,  with  headquarters 
in  Moline,  while  the  visiting  films"  were 
contest  award  winners  from  recent  com- 
petitions of  each  group.  Seen  on  the 
Tri-City  screen,  from  Rockford,  were 
two  "Tooterville"  trip  films  by  Paul 
Dohlman  and  Robert  Jacobs;  The  ABC 


Sauna  m  jilm 

fat  me 


Cine-Kodak  Special 


MBICON  CINE-SPECJAl  'BUMP' 

Soundproofed  enclosure  for  Cine-Kodak 
Special  ....  £195.00 


AUfRICO/V  SOUND  DRIVE 

Synchronous  molor  drive  for  Cine-Kodak 
Special  Camera  ....  $125.00 


ADRICOlN  16-nim.  RECORDER 

Variable-area  sound  on  film,  for  double 
system  recording  wiih  any  synchronous 
molor  driven  16-mm.  camera.  Amplifier  with 
background-noise  reduction  and  mixers  for 
combining  speech  and  music.  Including 
dynamic  microphone,  instructions  and  cases 
for  Recorder,  Amplifier,  Accessories  $695.00 

Ask  your  Dealer,  or  write  today 
for  free   descriptive   booklet. 

AURICON  2>i<*uo«, 
E.  M.  BERNDT  CORP. 

5515  SUNSET  BLVD.,  HOLLYWOOD,  CALIF. 


MANUFACTURERS  OF  SOUND-ON-FILM 
RECORDING  EQUIPMENT  SINCE  1931 


40 


JANUARY    1942 


CI 


a  ss  i 


f  i  e  d 


advertisin 


g 


■  Cash  required  with  order.  The  closing  date  for 
the  receipt  of  copy  is  the  tenth  of  the  month  pre- 
ceding issue.  Remittance  to  cover  goods  offered 
for  sale  in  this  department  should  be  made  to  the 
advertiser  and  not  to  Movie  Makers.  New  classi- 
fied advertisers  are  requested  to  furnish  references. 

■  Movie  Makers  does  not  always  examine  the 
equipment  or  films  offered  for  sale  in  CLASSI- 
FIED ADVERTISING  and  cannot  state  whether 
these  are  new  or  used.  Prospective  purchasers 
should  ascertain  this  fact  from  advertisers  before 
buying. 


10  Cents  a  Word  Minimum  Charge  $2 

|  Words  in  capitals,  except  first  word  and  name, 
5  cents  extra. 


EQUIPMENT  FOR  SALE 

■  BASS  SAYS :  A  Happy  New  Year  to  you  for 
1942.  USED  CAMERAS:  8mm.  Keystone,  f/2.7 
lens,  with  case,  $27.50;  8mm.  Bell  &  Howell 
Sportster,  Cooke  //2.5  lens,  with  case,  $57.50; 
8mm.  Cine-Kodak  Model  90,  //1.9  lens,  $87.50; 
16mm.  Victor  Model  3,  //3.5  fixed  focus  lens, 
$42.50;  16mm.  Filmo  70A,  //3.5  Cooke  lens, 
case,  $45.00;  16mm.  Simplex  Deluxe  Magazine, 
//1.9  lens,  $54.50;  16mm.  Victor  5,  black  finish, 
1"  fixed  focus  //3.5,  1"  Wollensak  //1.5  focusing-, 
3"  Wollensak  telephoto  focusing-,  case,  $137.50; 
16mm.  Filmo  70DA,  20mm.  Cooke  wide  angle 
//3.5,  1"  focusing  Cooke  //2.8,  3"  Wollensak 
telephoto  //4,  with  case,  $225.00;  16mm.  Filmo 
Master  Auto  Load  turret  model,  15mm.  wide 
angle  //2.7  fixed  focus,  1"  //2.7  focusing  Cooke, 
2"  Acura  //2.8,  with  case,  list  $350.00,  our  price 
$247.00;  16mm.  Movikon,  latest  model,  Sonnar 
//1.4,  coupled  range  finder,  with  case,  $325.00. 
Limited  number:  used  Craig  Jr.  complete  splicer, 
rewind  and  editing  outfit— fine  value  at  $26.80. 
USED  PROJECTORS:  16mm.  Bell  &  Howell 
Model  57A,  400  watt  lamp,  with  case,  $50.00; 
Kodascope  E,  16mm.,  750  watt  lamp  and  case, 
$52.50;  16mm.  Victor  Model  16,  750  watt  lamp 
and  case,  $75.00.  Be  sure  to  write  Bass  before 
you  trade  or  buy.  Free  on  request:  84  page  Bass 
Cine  Bargaingram,  an  authority  on  silent  and 
sound  equipment.  BASS  CAMERA  COMPANY, 
Dept.  CC,   179  W.  Madison  St.,  Chicago,  111. 

■  CINE-KODAK  Special,  //1.9,  excellent.  Back- 
wind,  audible  shutter,  frame  counter,  fades,  dis- 
solves; used  5  times.  $325.00.  CAMPUS,  2025  E. 
7th  St.,  Brooklyn,  N.  Y. 

EQUIPMENT  WANTED 

■  WANT:  USED  16mm.  SOUND  ON  FILM 
PROJECTOR.  IRVING  J.  BRAUN,  5125  No. 
Lotus  Ave.,  Chicago,  111. 

FILMS    FOR  RENTAL  OR  SALE 

■  FOR  PROFIT  lease  THE  LITTLE  FLOWER 
OF  JESUS.  All-English  talking.  Long  or  short 
terms.  Sole  distributors:  SUNRAY  FILMS,  Inc., 
Film  Bldg.,  Cleveland,  Ohio. 

■  ROADSHGWMEN— SCHOOLS :  Finest  16mm. 
sound  programs,  $5.00  per  day;  $10.00  per  week 
and  up.  Also  used  16mm.  sound  film  for  outright 
sale.  MAJESTIC  PICTURES,  1611  Davenport, 
Omaha,  Neb. 

■  8-16-35mm.  FILMS  bought,  sold,  exchanged. 
Silent,  sound,  $2.00  up.  Odd  reels,  $1.50;  1000  ft. 
35mm.,  $.95.  Catalog,  sample  film,  10c.  INTER- 
NATIONAL, 2120  Strauss,  Brooklyn,  N.  Y. 

■  8MM.  200'  comedies,  cartoons,  travels,  $2.75. 
30  x  40  screens,  $1.95.  16mm.  sound,  silent  projec- 
tors, film  and  accessories.  Write  for  free  bargain 
bulletin.  ZENITH,  308  W.  44th  St.,  New  York 
City. 

■  SENSATIONAL  offer:  Rent  50— 8mm.,  16mm. 
full  length  reels,  $10.00.  Films  exchanged;  li- 
brary subjects  sold.  GARY  FILMS,  369  E.  55th 
St.,  Brooklyn,  N.  Y. 

■  MONEY  maker!  "The  World's  Greatest  Pas- 
sion Play."  16mm.  and  35mm.  sound  or  silent. 
Purchase  or  rent  everywhere.  Superior  to  Ober- 
ammergau  play.  Write  HEMENWAY  FILM  CO., 
33-B  Melrose  St.,  Boston,  Mass. 

■  RELIGIOUS  pictures,  including  World's  best 
Passion  Play,  silent  and  sound,  35mm.  and  16mm. 
Rent  or  sale.  ALL-SACRED  FILM  CO.,  31  Mel- 
rose St.,  Boston,  Mass. 

FILMS  FOR  EXCHANGE 

■  EXCHANGE:  Silent  pictures,  $1.00  reel. 
Finest  sound  film  programs,  rent  reasonable;  also 
sell.  CINE  CLASSIC  LIBRARY,  1041  Jefferson 
Ave.,  Brooklyn,  N.  Y. 


I  SOUND,  silent  films  exchanged,  rented, 
bought;  8  &  16mm.;  always  bargains.  Get  on  our 
list.  FRANK  LANE,  80  Boylston,   Boston,  Mass. 

■  8MM.  FILMS!  Castle  Releases.  50  ft.  180  ft. 
New  prints.  Good  used  prints.  Sales.  Exchanges. 
Trade-ins.  RIEDEL  FILMS,  Dept.  MM-142,  2221 
W.  67th   St.,  Cleveland,  Ohio. 

MISCELLANEOUS 

|  EDITOLA — for  double  system  16mm.  Sep- 
arate heads  for  sound  and  picture.  Shows  picture 
and  reproduces  sound.  Particulars.  EDITOLA, 
894  Woodland  Ave.,  Oradell,   N.  J. 

B  YOUR  16mm.  movie  frames  for  still  projection. 
Cut  desired  frames,  allowing  half  frame  each  side, 
sending  them  with  $1.00  per  dozen.  I  will  return 
them  mounted  on  2x2  card  slides.  M.  LIBBY,  60 
Hudson  St.,  N.  Y.  C. 

H  SOUND  on  disc  16"  professional  type  Federal 
Recorder  bought  last  March  in  paneled  solid  ma- 
hogany floor  cabinet.  Presto  synchronizer  and  in- 
struction book  for  making  lip  synchronized  rec- 
ords; 30 — 16"  aluminum  discs,  brush  pickup,  many 
other  extras.  All  $325.00;  cost  $790.00.  Write 
G.  CABLE,  2075  Tasso  St.,  Palo  Alto,  Calif. 


Build  It 

THE   ACL  WAY! 


too 


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poo 


BuiltbUtfj.  a       T 
Zbucd<1uA4daUe 


This  Amateur  Cinema  League 
booklet  covers  the  procedure  for 
building  the  increasingly  popular 
adjunct  of  personal  filming — the 
Dual   Turntable. 

Thirty  pages  of  helpful  informa- 
tion on  building  and  using  a  dual 
turntable  —  illustrations  and  con- 
struction  diagrams. 

This  booklet  is  available  to  all 
League  members  without  charge. 
If  you  have  asked  to  have  your 
name  placed  on  the  booklet  mail- 
ing list,  a  copy  has  already  been 
sent  to  you. 

If  you  are  not  on  the  list,  but  are 
a  member,  you  may  have  a  copy  by 
writing  to  the  League  for  it.  It  is 
available  only  to  League  members. 

Amateur  Cinema  League,  Inc. 

420  Lexington  Avenue  New  York,  N.  Y. 


Movie  and  Illinois,  by  Elizabeth  and 
Florence  Roberts,  ACL;  One  Day  in 
October,  by  Adolf  Gustalson.  In  ex- 
change, Tri-City  sent  to  their  neighbor 
club  films  from  Dr.  Paul  White,  ACL, 
Willis  Lathrop,  ACL,  Georgia  First, 
ACL,  Tom  Griberg,  ACL,  and  Harold 
Swanson. 

Long  Beach  elects     New  officers 

for  the  Long 
Beach  Cinema  Club,  in  California,  have 
been  elected  for  the  coming  year  as 
follows:  Robin  Hadley,  ACL,  president; 
Dr.  Franz  Buerger,  first  vicepresident; 
Harry  Ward,  second  vicepresident;  Pru- 
dence Bracklow,  secretary;  Mrs.  V.  P. 
Whitely,  treasurer.  Val  Pope  has  been 
appointed  club  projectionist,  with  Earl 
Everly  as  sergeant  at  arms.  Mrs.  Mil- 
dred J.  Caldwell,  ACL,  under  whose 
vigorous  leadership  the  club  has  pushed 
on  to  new  successes  in  the  last  year, 
will  serve  on  the  board  of  directors. 

Schenectady  sees  A  varied  pro- 
gram of  out- 
standing films  was  seen  by  members  of 
the  Cine  Group  of  the  Schenectady  Pho- 
tographic Society,  ACL,  according  to  a 
report  in  The  Graphic,  attractive  club 
news  bulletin.  From  the  club's  own  mem- 
bership came  Land  of  Acadia,  by  Dr. 
C.  W.  Woodall,  followed  by  Mr.  Motor- 
boat's  Last  Stand,  from  the  Club  Film 
Library  of  the  League,  and  Gem  of  the 
Rockies,  from  the  Y.M.C.A.  Motion  Pic- 
ture Bureau.  The  appointment  of  a  new 
program  committee  by  the  Cine  Group 
has  been  announced  as  follows:  G.  H. 
Bainbridge,  S.  B.  Canter,  ACL,  F.  H. 
Eastman,  C.  M.  Figueroa,  ACL,  Leo 
Schaab,  C.  H.  Steenstrup  and  Ken  Ten- 
nant. 

Production  4  Working  from  a  story 
selected  by  William 
Bornmann,  the  8-16  Movie  Club  of  Phil- 
adelphia already  has  launched  Produc- 
tion 4  in  its  active  series  of  film  story 
work.  Others  listed  on  the  technical 
staff  are  Harry  Brautigam,  producer; 
Leonard  Bauer,  director;  George  Whip- 
ple, assistant  director;  John  Burke, 
cameraman;  Frank  Brown,  assistant 
cameraman;  Frank  Heininger,  scenar- 
ist; Philip  Oetzel,  property  man;  Milton 
Blumberg,  electrician;  Arthur  Dixson, 
assistant  electrician;  Louis  Sobel,  make- 
up; Helen  Bornmann,  still  photogra- 
pher; Sarah  Heininger,  script  girl. 

Ottawa  elects  The  Movie  Makers 
Club  of  Ottawa,  in 
Canada,  gathered  recently  at  the  home 
of  Mr.  and  Mrs.  Roland  Garlick  for  its 
annual  general  meeting  and  election  of 
officers.  Returned  to  the  new  board  were 
Dr.  P.  E.  Patterson,  president;  Dr.  G. 
M.  Geldert,  vicepresident;  J.  H.  Hardy, 
secretary;  Miss  F.  Kilduff,  assistant  sec- 
retary; Mr.  Garlick,  treasurer.  The  pro- 
gram of  the  evening  was  devoted  to  the 


MOVIE    MAKERS 


41 


Murray  Tucker,   ACL 

Frank  E.  Gunnell,  ACL,  (left)  and 
Leo  J.  Heffernan,  ACL,  at  recent 
M.M.P.C.    public    presentation 


subject  of  film  editing,  with  Norman 
Campbell,  ACL,  M.  J.  Sucee,  ACL,  and 
Mr.  Garlick  illustrating  their  several 
points  from  films  of  their  own  produc- 
tion. 

S.  I.  sees  winner    The  Will  and 

The  Way,  1940 
Maxim  Award  winning  8mm.  film,  by 
Chester  Glassley,  ACL,  of  Dallas,  Texas, 
was  the  feature  presentation  at  a  recent 
meeting  of  the  Staten  Island  Cinema 
Club,  held  in  the  home  theatre  of  Ed- 
ward W.  Wilby,  ACL.  Rounding  out  the 
program  were  New  York  World's  Fair, 
by  Fred  D.  Koehler,  jr.,  ACL;  A  Cor- 
ner of  Maine,  by  Helen  M.  Batz;  Baby 
Days,  by  Helen  M.  Loeffler. 

New  in  New  York     ThePark- 

chester  Cine 
Club,  formed  within  the  environs  of 
Parkchester,  "The  Town  of  Tomorrow," 
has  been  organized  recently  in  that 
mammoth  housing  development  in  New 
York  City's  northern  reaches.  First  offi- 
cers are  George  Kirstein,  president; 
William  Welch,  secretary;  Herman  Get- 
ter, ACL,  treasurer;  Martin  Weled- 
niger,  program  chairman.  Meetings  are 
being  held  on  alternate  Wednesdays  in 
the  homes  of  the  members. 

Color  in  Norfolk  Members  of 
the  Norfolk 
Amateur  Movie  Club,  in  Virginia,  saw 
two  films  and  heard  one  lecture  about 
color  processes  at  a  late  meeting,  ac- 
cording to  reports  in  The  Editor,  news 
bulletin.  The  lecture  and  film  combina- 
tion was  The  Kodachrome  Process,  a 
presentation  of  the  Eastman  Kodak 
Company,  given  by  H.  B.  Bennett,  a 
color  photographer  of  Norfolk,  while 
the  other  movie,  furnished  by  the  Spec- 
trum Products  Company,  outlined  the 
step  by  step  processes  of  making  a  four 
color   print   from   separation   negatives. 


Also  seen  on  the  Norfolk  screen  have 
been  films  by  R.  J.  Kinney,  ACL,  C.  A. 
Danner,  Wilson  Robertson,  Larry  Page, 
E.  J.  Barry  and  R.  B.  Smith. 

In  Mount  Vernon    An  election  of 

officers  and 
clinical  screenings  of  members'  films 
have  been  featured  at  early  winter  meet- 
ings of  the  Mount  Vernon  Movie  Makers, 
in  New  York's  Westchester  County. 
Guiding  the  club  for  the  current  season 
will  be  Walter  Bergmann,  ACL,  presi- 
dent; William  Knight,  vicepresident; 
George  Kirstein,  treasurer;  James  J. 
Berman,  secretary.  The  members'  films 
seen  by  the  club  were  submitted  by  Mr. 
Bergmann  and  Mr.  Berman.  and  they 
included  a  film  produced  by  them  joint- 
ly for  the  Mount  Vernon  chapter  of  the 
Red  Cross. 

San  Francisco  sees     Clinical 

screenings  of 
members'  films  and  a  club  contest,  as 
yet  unreported,  have  busied  members  of 
the  Cinema  Club  of  San  Francisco,  now 
meeting  monthly  in  the  Georgian  Room 
of  the  Hotel  Whitcomb.  Among  the 
films  seen  have  been  Bryce  Canyon,  by 
S.  V.  Rothschild;  A  Vacation  the  Kids 
Will  Remember,  by  Eric  M.  Unmack, 
ACL;  High  Sierra,  by  Fred  Young- 
berg;  Ice  Follies,  by  John  Smurr,  ACL; 
Tamalpais  Mountain  Play,  by  Mrs.  John 
G.  Seitz;  Wings  Over  America,  by  Al- 
bert E.  Sigal,  ACL;  Southern  Trails, 
by  Walter  Darmstadt. 

AllentOWn  aids  Working  with  the 
closest  cooperation 
of  many  city  officials,  members  of  the 
Allentown  Y.M.C.A.  Cinema  Club,  ACL, 
in  Pennsylvania,  completed  early  this 
winter  a  16mm.  publicity  picture  for 
the  Lehigh  County  Community  Chest. 
Titled  Follow  Your  Heart,  the  scenario 
was  written  by  Max  Levine  and  directed 
by  Arthur  W.  Heydt,  president  of  the 
cinema  club.  Others  on  the  technical 
staff  of  the  club  were  Nelson  Meitzler, 
Charles  Vogt  and  Charles  Gerhart.  Wil- 
liam Rippe,  of  local  Station  WCBA,  re- 
corded on  discs  the  narrative  and  mu- 
sical score  especially  prepared  for  the 
film  by  John  W.  Oberly,  president  of 
Allentown  Business  College  and  co  chair- 
man of  the  Community  Chest  publicity 
committee.  The  film  has  received  wide 
and  successful  distribution  throughout 
Lehigh  County  in  support  of  the  annual 
Chest  drive. 

For  Oklahoma  City    Meeting  on 

third  Fridays, 
in  the  board  of  directors'  room  of  the 
Chamber  of  Commerce,  the  Movie  Mak- 
ers Club  of  Oklahoma  City  has  the  in- 
teresting custom  of  varying  the  program 
committee  with  each  gathering.  Under 
the  direction  of  Dr.  J.  D.  Mills  and 
H.  A.  Houston,  ACL,  the  club  saw  His 
Off  Day,   from  the  League's   Club   Li- 


FOR  PROFESSIONAL 
RESULTS - 


—  A      PROFESSIONAL 
1  6  M  M  .     CAMERA 

Sixteen  millimeter  now  has  an  im- 
portant place  in  serious  motion 
picture  production  in  the  fields  of 
business,  education,  defense  and 
many  others.  These  uses  need  the 
B-M  Professional  16mm.  Camera. 
Built  to  turn  out  results  not  obtain- 
able with  ordinary  cameras,  it  has 
such   important   features  as: 

400     foot,     detachable     gear     driven     film 

magazines 
Three-lens   turret 
Dissolving  shutter 
B-M  Full-vision  Finder 
Motor  drive   and   hand   cranks 
Pilot   pin   precision   intermittent 
Direct   focus   through   taking   lens 
Forward   and  reverse  takeup 
Adaptability   for   single   or   double   system 

sound 

Investigate  this  remarkable,  pre- 
cision instrument  for  your  impor- 
tant 16mm.  work.  We'll  gladly  send 
further  details. 

J.  A.  MAURER,  Inc. 

117  E.  24th  St.  New  York 


8  ENLARGED  41    ^*  REDUCED  Q 
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Special    Motion    Picture    Printing 

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CHICAGO 


MAKE  GOOD   FILMS   BETTER 
with 

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Give    meaning   to   your  films. 

Send  for  Latest  Catalog 

PARK  CINE  LABORATORY 

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42 


JANUARY    1942 


brary;  One  Thousand  Miles,  a  sound 
on  film  production  by  Ray  Reeves; 
Amateurs  on  Parade,  a  record  film  of 
club  members;  and  Walter  Opp,  of  the 
Eastman  Kodak  Company,  addressed 
the  group  on  Color  Slides  and  Amateur 
Movies.  At  a  later  gathering,  two  com- 
mitteemen, R.  F.  Danner  and  William 
Vahlberg,  presented  Florida,  Cuba  and 
the  Bahamas,  by  Mrs.  E.  M.  Watson; 
New  England  and  Eastern  Canada,  by 
P.  B.  Robberson,  ACL;  The  Turner 
Ranch,  by  Arthur  Ramsey. 

News  of  the  industry 

(Continued    from    page    26) 

with  a  burning  life  of  6000  hours.  Valu- 
able data  on  the  use  of  infrared  lamps 
for  speeding  up  film  processing  can  be 
had  from  the  Wabash  Photolamp  Cor- 
poration. 

Cutlohn  moves  A  change  of  ad- 
dress has  recently 
been  made  by  Walter  0.  Gutlohn,  Inc., 
distributors  of  16mm.  sound  and  silent 
entertainment,  educational  and  spe- 
cialty films.  The  new  address  is  25 
West  45th  Street,  New  York  City,  a  few 
doors  removed  from  the  former  loca- 
tion. Improved  facilities  in  the  new 
quarters  will  give  even  better  service 
to  Gutlohn  customers  than  before,  it  is 
said. 

Moviquiz  A  novel  idea,  one  of  the 
first  to  involve  the  use 
of  movies  in  playing  home  games,  has 
been  introduced  by  the  Bell  &  Howell 
Company,  1801  Larchmont  Avenue, 
Chicago.  This  is  Moviquiz,  described  as 
a  fascinating  new  game.  It  is  played 
with  one  or  more  Moviquiz  films,  which 
may  be  rented  or  purchased  from  a  Bell 
&  Howell  dealer.  The  participants  are 
supplied  with  the  Moviquiz  Kit,  includ- 
ing rules,  question  sheets  and  answers. 
A  kit  for  each  film  is  supplied  at  a  cost 
of  twenty  five  cents.  Each  player  writes 
down  his  own  answer;  then  the  film  is 
run,  which  supplies  the  correct  answers 
in  a  graphic  way.  Present  Moviquiz  sub- 
jects (with  more  to  come)  include 
such  classifications  as  See  America 
First,  Our  Colorful  World,  Sports,  His- 
tory and  Current  Events  and  others. 

Training  films  Prepared  under  the 
direction  of  the 
TJ.  S.  Office  of  Education,  the  first 
group  of  machinist  and  industrial  train- 
ing films,  of  a  series  of  more  than  fifty, 
is  being  distributed  by  Castle  Films, 
Inc.,  30  Rockefeller  Plaza,  New  York 
City.  These  movies  may  be  purchased 
at  a  price  that  represents  only  printing 
and  shipping  cost.  The  Bell  &  Howell 
Company,  of  Chicago,  in  addition  to 
its  own  intensive  use  of  the  films,  is  de- 
voting its  film  library  channels  to  the 
loan   and   sale  of  copies  to  industries, 


schools  and  other  organizations.  The 
pictures  can  be  presented  on  any  16mm. 
sound  projector,  but  silent  machines 
cannot  be  used.  Organizations  having 
no  machines  can  make  arrangements 
for  projection  service  and  can  borrow 
copies  of  the  films  desired  at  a  mod- 
erate handling  charge. 

Howe  feted  A  testimonial  dinner 
to  Percy  Y.  Howe, 
president  of  the  firm  of  George  Murphy, 
Inc.,  of  New  York  City,  was  given  by 
the  Guild  of  Photographic  Dealers  of 
New  York  on  Tuesday,  November  25, 
at  the  Hotel  Edison.  The  occasion  cele- 
brated the  forty  fifth  year  of  Mr. 
Howe's  activities  in  the  photographic 
industry,  and  it  was  attended  by  a 
large  representation  of  the  photographic 
trade,  both  in  and  out  of  New  York 
City. 

Barleben-Rabsons  Expert  techni- 
cal advice  on 
customers'  problems  in  the  still  and 
movie  fields  is  on  tap  at  Rabsons,  Inc., 
Ill  West  52nd  Street,  New  York  City, 
for  Karl  A.  Barleben,  F.R.P.S.,  has 
been  appointed  personal  service  con- 
sultant to  the  firm. 

Stock  shots  of  Americana  Aval- 

uable 
collection  of  stock  shots,  covering 
American  life,  places  and  customs,  has 
been  made  available.  These  cuttings, 
derived  from  the  film,  The  City,  have 
been  classified  for  ready  reference  by 
William  W.  Newcomb,  10  Rockefeller 
Plaza,  New  York  City. 

Nu-Art  catalog     A  uniciue  refer- 

ence  list,  com- 
pletely classifying  films  offered  by 
Nu-Art  Films,  Inc.,  145  West  45th 
Street,  New  York  City,  is  announced. 
In  the  new  brochure,  emphasis  has 
been  laid  on  the  selection  of  films  by 
educators,  and  a  valuable  cross  index 
system  has  been  incorporated.  The  new 
catalog  is  procurable  at  twenty  five 
cents  a  copy. 

Bee  Bee  timer    A  new>  automatic 

timer  and  switch, 
for  making  accurate  exposures  for  still 
photographic  enlargements,  has  been 
introduced  by  Burleigh  Brooks,  Inc., 
126  West  42nd  Street,  New  York.  Com- 
pact in  construction,  this  instrument 
may  be  set  to  give  a  wide  range  of  ex- 
posure intervals  and  will  repeat  this 
exposure  time  indefinitely  at  the  touch 
of  a  switch  until  the  index  is  changed. 
Two  outlets  are  provided,  one  of  which 
controls  the  exposure  at  the  enlarger, 
while  the  other  turns  on  the  safelight 
when  the  exposure  is  completed.  The 
dual  action  is  fully  automatic.  The  price 
of  this  accessory,  called  the  Dual  Con- 
trol Auto-Timer,  is  $23.00.  Details  may 


be  had  from  Burleigh  Brooks.  The  Bee 
Bee  Illuminated  Viewer,  for  Koda- 
chrome  and  other  transparencies,  has 
been  priced  at  $11.50. 

Defense  screen     To   aid   in  the 

conservation  of 
metal,  Motion  Picture  Screen  &  Acces- 
sories Company,  Inc.,  351  West  42nd 
Street,  New  York  City,  has  designed  a 
new  projection  screen,  called  Defense 
Model.  The  new  screen,  of  the  cabinet 
type,  may  be  raised  or  lowered  quickly. 
Although  made  with  a  minimum  of 
metal  parts,  it  is  said  to  be  steady  and 
strongly  constructed.  The  surface  is 
glass  beaded,  and  the  screen  has  a  black 
masking  border.  It  is  contained  in  a 
solid  wood,  leatherette  covered  box, 
with  nickel  trimmings  and  leather  han- 
dle. 

Bailey  films    A  sPeciai  bulletin  of 

films  for  National  De- 
fense is  announced  for  free  distribution 
by  Bailey  Film  Service,  1651  Cosmo 
Street,  Hollywood,  Calif.  This  source 
also  offers  a  new  16mm.  color  film  of 
Russia,  which  shows  in  concise  style  the 
principal  features  of  the  U.S.S.R.  today. 

Kodak  Safelight  Supplied  with  a 
wall  bracket  into 
which  its  regular  supporting  base  can  be 
quickly  fitted,  a  new  Kodak  Adjustable 
Safelight  lamp  is  announced  by  the  East- 
man Kodak  Company,  Rochester,  N.  Y. 
The  new  lamp  has  a  gray  finished,  para- 
bolic shaped  shell  with  a  lock  rim 
which  holds  a  five  and  one  half  inch 
safelight  in  place.  Whether  standing  on 
its  base  or  hung  from  the  wall  bracket, 
it  can  be  swung  almost  in  a  complete 
circle  and  will  remain  in  any  position. 
The  price,  complete  with  safelight,  is 
$4.50. 

Gutlohn  color  shorts    Walter  O. 

Gutlohn, 
Inc.,  35  West  45th  Street,  New  York 
City,  distributors  of  16mm.  films,  has 
recently  announced  the  release  of  sev- 
eral attractive  short  subjects  in  color. 
These  films  are  in  16mm.  silent  versions, 
and  they  include  Freighter  Trip  to  the 
Caribbean,  Camera  Sketch  of  Costa 
Rica  and  Porto  Rico,  Haiti  and  Havana. 
A  complete  catalog  may  be  had  from 
this  source. 

Outstanding  business  film   II  is 

said 
that  the  dramatic  feature,  Once  in 
a  Lifetime,  recently  produced  in  color 
and  sound  by  the  Calvin  Company,  of 
Kansas  City,  Mo.,  sets  a  new  standard 
for  direct  16mm.  production,  both  in 
sound  and  picture.  Designed  to  sell  in- 
surance, this  forty  five  minute  subject 
has  many  of  the  special  features  which 
are  usually  associated  only  with  pro- 
ductions made  in  35mm. 


^ta/dtmj\li 


mjiMeaA^ 


with  the  ACL  MOVIE  BOOK  to  Guide  You 


A  COPY  of  THE  ACL  MOVIE  BOOK  is  mailed  to  every  new  member  of  the 
League  when  he  joins.  This  up  fo  date,  handsome  volume  is  sent  in  addition 
to  all  the  regular  League  services,  the  booklets  and  MOVIE  MAKERS,  monthly. 

THE  ACL  MOVIE  BOOK  IS  NOT  OFFERED  FOR  SALE.  IT 
IS    AVAILABLE    ONLY   TO    LEAGUE    MEMBERS. 

IF  YOU  ARE  NOT  A  LEAGUE  MEMBER,  JOIN  NOW  AND 
GET  THE  ACL  MOVIE  BOOK.  IT  ALONE  IS  WORTH  THE 
PRICE    OF    MEMBERSHIP. 

THE  ACL  MOVIE  BOOK — 311  pages,  over  100  illustrations — contains  new  information, 
new  ideas,  precise  and  simple  technical  information  about  every  phase  of  movie 
making  used  by  amateur  filmers.  Illustrations  on  exposure,  focusing,  use  of  exposure 
meters,  exact  lighting  diagrams,  tricks,  editing,  projection,  scenarios,  and  other  sub- 
jects, are  included. 


HERE  ARE  THE  CHAPTERS 


What   Is  A   Movie? 

What   Makes  A   Movie? 

A   Movie's  Chief  Tools 

Basic    Camera    Technique 

Film   Plans 

Around    the    Yard    Movies 

We    Need    More    Movie    Tools 

The  Camera  Steps  Out 

The   Camera   Sees  The   World 

Filming   Public  Events 

Making    The    Film    Ready   To    Project 


Projection 

Filming    Indoors 

The   Camera    Deceives 

Things    Far   And    Near 

Better   Methods   Of   Expression 

Movies   In   Color 

Sound    On    Films 

Special     Purpose    Films 

Profits    From    Your    Movies 

The    Movie   Shopper 

How  The   League  Can    Help 


The  new  book  is  packed  with  information  and  it  is  simply  written  in  an  informal 
style.  You  will  find  it  fascinating,  and  you  may  be  sure  that  the  information  is 
correct— IT'S   AN   ACL   PUBLICATION. 

Membership  in  the  Amateur  Cinema  League  is  only  $5.00. 

(See   the   advertisement   on   the    inside   front   cover   for   details    of 
the  League's  services  in  addition  to  The  ACL  Movie  Book.) 


AMATEUR  CINEMA  LEAGUE,  Inc. 


Bound  in  stiff  boards  with  an  attractive 
gray  and  red  cover,  THE  ACL  MOVIE 
BOOK  will  make  a  handsome  addition 
to  your  library  shelves.  Attractive 
typography,  fine  book  paper,  new  ar- 
rangements and  many  illustrations  give 
it  a  de  luxe  appearance. 


420  Lexington  Avenue 


New  York,  N.  Y. 


a^ 


A 


pe. 


M 


'to. 


m 


»■ 


>T+ 


&. 


& 


*4M 


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ftegu/ar  Kodachrome,  for  "Eights" 
and  "Sixteens,"  makes  full-color 
movies  outdoors — or  indoors  when 
blue  Daylight  Ph.otofl.oods  supply  the 
illumination. 

Type  A  Kodachrome,  especially  color 
balanced  for  indoor  Photoflood  filming 
— may  be  adapted  for  outdoor  filming 
at  standard  exposures  by  means  of  an 
inexpensive  "Daylight"  filter. 

Cine-Kodak  Kodachrome  Prices 

8-mm.  rolls,  $3.65;  8-mm.  maga- 
zines, $4;  16-mm.  100-foot  rolls,  $8.55, 
16-mm.  magazines,  $5. 

All  Prices  Include  Processing 


ARVELOUS  FULL  C 


»,  *%*. 


CTp 


it      "*■  *  &  ^ 


IN  CRISP  BLACK  AND  WHITE 


rNv'~ 


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7         «=#"• 


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Cine-Kodak  Bight  "Pan,"  for  8-mm. 
daylight  movies — $2.15  per  roll. 

Gni-Kodak  tight  Super- X,  for  out- 
door or  indoor  8-mm.  movies — rolls, 
$2.40;  magazines,  $2.70. 

16-mm.  Cine-Kodak  Safety  "Pan," 
for  outdoor  movies — 100-ft.  rolls, 
$4.80. 

16-mm.  tini-Kodak  Super-X,  for 
outdoor  or  indoor  movies — 100-ft. 
rolls,  $6.40,  magazines,  $3.75. 

16-mm.  Cine-Kodak  Super-XX,  for 
poor-light  movies  indoors  or  out — 100- 
ft.  rolls,  $7.20,  magazines,  $4.30. 
All  Price*  Include  Processing 

Eastman  Kodak  Co.,  Rochester,  N.  Y. 


OH 


THESE  FILMS  "MAKE"  THE  MOVIE 


Magazine    off   the   Amateur    Cinema    League,   Inc 


•  Jftuu  to.  Build  a  7UU* 


Best  homemade  titler  of  the  year 
presented  with  full  construction 
details. 


•  SNOWTIME  SCENARIO 


Snow  fun,  a  winter  comedy  ready  to 
film  with  the  family  as  the  cast. 


*  CINE  COMPOSITION 


Drawings  to  guide  you  in  selecting 
camera  viewpoints  that  will  make 
good  scenes. 


•  Organize  Your  Club  for  War  Time  Filming! 


Guide  to  efficient  production  setup 
that  simplifies  club  filming. 


25c 


•   ACL  VOLUNTEER  REGISTRATION 


Register  now  for  possible  service  in 
volunteer   defense    work    with    your 


February .  1942 


cine  camera. 


EVERY  NEW   MEMBER    GETS*-* 

The  ACL  Movie  Book 


i 


T'S  the  latest  book  on  amateur  movie  making!  .  .  .  It's  the 
biggest  book  about  the  subject  written  in  the  past  decadel 

311  PAGES— OVER  100  I  LLUSTRATIONS— FRAME 
ENLARGEMENTS— PHOTOGRAPHS— DRAWINGS! 
INTERESTING  —  NEW  IDEAS  —  SIMPLY  WRIT- 
TEN—ACCURATE—COMPLETE—FULL   INDEX. 

Written  by  the  staff  of  the  Amateur  Cinema  League — com- 
piled from  their  experiences  in  serving  thousands  of  movie 
makers  for  over  a  decade,  this  book  represents  the  latest 
and  simplest  cine  technigue.  It  is  based  on  what  amateurs 
do.  It  tells  you  what  you  want  to  know  because  it  comes 
from  the  needs  and  guestions  of  over  21,000  League  mem- 
bers— every  one  a  real  movie  maker. 

The  new  book  is  packed  with  information  and  it 
is  simply  written  in  an  informal  style.  You  will 
find  it  fascinating,  and  you  may  be  sure  that  the 
information  is  correct  — IT'S  AN  ACL  PUBLICA- 
TION. 

GET  THIS  NEW  BOOK  IN  ADDITION  TO  THE 

SERVICES  AND  PUBLICATIONS  LISTED  BELOW 

ALL  FOR  $5.00  A  YEAR 


*  MOVIE  MAKERS  .  .  .  Membership  includes  a  sub- 
scription to  Movie  Makers  monthly,  which  covers 
every  phase  of  amateur  and  practical  filming. 
Each  month  there  are  articles  for  the  beginner  as 
well  as  for  the  experienced  movie  maker. 

■^  Technical  consulting  service.  .  .  Any  League  mem- 
ber can  put  his  movie  making  problems  up  to  the 
technical  consultant,  and  he  will  receive  prompt, 
detailed  service. 

-^  Continuity  and  film  planning  service  .  .  .  The  con- 
tinuity consultant  will  aid  you  in  planning  specific 
films  by  offering  you  continuity  and  treatment 
suggestions,  ideas  on  editing  and  title  wordings. 

+  Club  service  .  .  .  Those  who  wish  to  organize  a 
club — either  for  the  production  of  films  or  for  the 
interchange  of  ideas  between  cameramen  —  will 
obtain  full  aid. 

■fa  Film  review  service  .  .  .  You  may  send  films  to  the 
League  for  criticism  and  review. 

jt  Booklets  and  service  sheets  .  .  .  These  are  available 
to  all  members.  Booklets  are  sent  automatically, 


as  published,  to  members  who  request  them.  Book- 
lets now  current  are: 

Color  filming — 27  pages,  illustrated 

Featuring  the  family — 34  pages 

Lighting  personal  movies — 37  pages,  illus- 
trated 

Films  and  filters — 31  pages,  illustrated 

Building  a  Dual  Turntable — 30  pages,  illus- 
trated 

■fa  Equipment  service  .  .  .  The  League  aids  members 
in  locating  new  equipment. 

fa  Film  Exchange  ...  A  member  may  list  his  films 
for  temporary  loan  among  other  members  and  will 
receive  in  return  a  list  of  films  offered  by  other 
members. 

fa  Special  services  ...  in  two  important  fields  are 
available.  Through  the  Film  Review  Chart  a  mem- 
ber can  get  particularly  efficient  criticism  on  his 
reels.  By  means  of  the  Film  Treatment  Chart,  a 
member  may  secure  individually  prepared  film 
plans  and  continuity  outlines.  These  charts  are 
supplied  on  request  to  members  only. 


AMATEUR  CINEMA  LEAGUE,   Inc. 

420  Lexington  Ave.  Date 

New  York.  N.  Y.,  U.  S.  A.  1 

I  wish  to  become  a  member  of  AMATEUR  CINEMA  LEAGUE,  Inc.  My  remittance  for  $5.00. 
made  payable  to  AMATEUR  CINEMA  LEAGUE,  Inc.,  is  enclosed  in  payment  of  dues.  Of  this  amount, 
I  direct  that  $2  be  applied  to  a  year's  subscription  to  MOVIE  MAKERS.  (To  nonmembers,  subscrip- 
tion to  MOVIE  MAKERS  is  $3  in  the  United  States  and  possessions;  $3.50  in  Canada,  $3.50  in  other 
countries. ) 

I 
MEMBERSHIP    $5   a   year 

I 
Name     

| 

Street     

City State 

Feb.  '42      ■ 


GET    THESE    INDISPENSABLE 
FILMING  AIDS  AT  ONCE  FOR 


Five  dollars  a  year 


Amateur  Cinema  League,  inc. 

420  Lexington  Ave.  New  York,  New  York,  U.  S.  A. 


MOVIE    MAKERS 


47 


MOST  (XI PPI  HG  ACTION  EVER  RECORDED  > 


THE  THRILL  OF  A  LIFETIME  for  every  projector  owner! 
Actual  pictures  of  unbelievably  daring  raids  on  Nazis' 
Norwegian  strongholds!  Sea  and  air  forces  advancing  to 
attack!  Flaming  guns!  Assault  boats  under  fire!  House 
to  house  fighting!  Demolition  squads  at  work!  Huge  ex- 
plosions! Nazi  planes  shot  down!  Surrender  of  garrisons! 
Daringly  filmed  at  close  range!  Every  foot  authentic! 
The  most  startling  picture  you've  ever  seen!  Own  it  now 
for  less  than  the  cost  of  unexposed  film.' 

All  Castle  IE  MM  films  are  processed  by  VAP  0  RATE.  All  Castle  8  MM  are  also  treated. 


CASTLE 
FILMS 


Please  send  me  "BRITAIN'S  COMMAN- 
DOS IN  ACTION,"  in  the  size  and  edition 
checked. 


Name. 


Address. 
City 


0  ■  * 


RCA  BLDG.  HEW  YORK. 


0    ■    ■ 


FIELD  BlDli  CHICAGO. 


Sfcrfe. 


8  mm. 

Headline  $|  "TC 
50  Feet          l./O 

Complete  $/•  CP\ 
180  Feet       O.DU 

16  mm. 

Headline  $*j  -j  jr 
100  Feet      £../  D 

Complete  $Q  7C 
360  Feet      O./D 

Sound     $j^  i-f\ 

350  Feet    1/  .JV 

RUSS  BLDG.  SAH  FRAHCISCO      1  , 


.J 


M 


One  hundred  years  ago 


IN  1842,  Edward  Anthony  founded 
the  company  that  is  now  Agfa 
Ansco.  We're  proud  of  our  hundred 
years  as  an  American  institution,  but 
we're  prouder  of  the  letters  that  have 
been  coming  in  to  us  from  photog- 
raphers, both  professional  and  ama- 
teur, saying:  "Congratulations!  We 
wish  you  success  in  your  next  hundred 

years!" 

*         *         * 

Even  in  the  early  1840's,  Edward 
Anthony  was  making  daguerreotypes  in 
Washington  .  .  ,  using    the    rooms    of 


The  Committee  On  Military  Affairs 
for  his  sittings! 

That  early  association  with  the  U.  S. 
Government  has  continued  down  our 
hundred  years.  Today,  Agfa  Ansco  is 
working  harder  than  ever  to  supply  the 
U.  S.  Fighting  Forces. 

We  are  proud  of  our  many  contribu- 
tions to  photography  during  the  past 
century  and  we  are  confident  of  our 
ability  to  create  many  more  new  ad- 
vancements in  the  art  during  our  next 
hundred  years.  We  hope  to  stay — as 
we  have  always  been — young  in  heart. 


Agfa 

Ansco 

Binghamton,  New  York 

FILMS 

PAPERS 

CAMERAS 

CHEMICALS 

MADE 

IN    U.S.A. 

100  Years  of  American  Photography 

49 


IVIOVIE     MAKERS 


The    Magazine    of    the    Amateur   Cinema    League,    Inc. 


Volume  17 


February,  1942 


Number  2 


ACL    volunteer    registration 51 

Free   film   reviews 52 

Register    now!,    editorial 55 

Fine  frames 56 

How   a   club   plans   war   films James   W.  Moore,  ACL  57 

They  learned  by  doing Godfrey  Elliott  58 

Snow    fun Benjamin   F.  Farber,  jr.,   ACL  59 

Special  projection  aids Horace  M.   Guthman,  ACL  60 

A  popular  titler  plan Kenneth  F.  Space,  ACL  62 

Practical  films Gordon    L.    Hough  63 

Twelve   cine   compositions Charles  Cook  64 

Amateur   clubs James  W.  Moore,  ACL  65 

The   clinic Kenneth  F.  Space,  ACL  68 

News  of  the  industry Russell    C.   Hoi  slag,   ACL  70 

Are   cameras   dangerous? 71 

Films  you'll  want  to  show 72 

Closeups 78 

How    Sacramento    works 79 

Scrapbook  aids  filming George  Oliver  Smith,  ACL  84 

Save  your  film  spools! 86 


**^W* 


&>w 


ARTHUR     L.     GALE, 

Editor 


RUSSELL  C.  HOLSLAG 
Advertising  Manager 

JAMES  W.  MOORE 
Continuity  Editor 

KENNETH    F.   SPACE 
Technical   Editor 

ALEXANDER    de    CANEDO 
Art  Editor 


is  published  monthly  in  New  York,  N.  Y.,  by  the  Amateur  Cinema  League,  Inc. 

Subscription   rate  $3.00  a  year   postpaid    (Canada  and   Foreign  $3.50);    to  members  of   the 
Amateur  Cinema  League,  Inc.,  $2.00  a  year,  postpaid;  single  copies  25c  (in  U.  S.  A.).  On 
e?fcf  sale  at   photographic   dealers  everywhere.   Entered   as   second   class  matter,   August  3,    1927, 

at  the  Post  Office  at  New  York,  N.  Y.  under  act  of  March  3,  1879.  Copyright,  1942,  by  the 
Amateur  Cinema  League,  Inc.  Title  registered  at  United  States  Patent  Office.  Successor  to 
Amateur  Movie  Makers,  title  registered  at  United  States  Patent  Office.  Editorial  and 
Publication  Office:  420  Lexington  Avenue,  New  York,  N.  Y.,  U.  S.  A.  Telephone  MOhawk 
4-0270.  Advertising  rates  on  application.  Forms  close  on  10th  of  preceding  month. 

CHANGES  OF  ADDRESS:  A  request  for  a  change  of  address  must  reach  us  at  least  by 
the  twelfth  of  the  month  preceding  the  publication  of  the  number  of  Movie  Makers  with 
which  it  is  to  take  effect.  Duplicate  copies  cannot  be  sent  when  a  number  of  the  magazine 
does  not  reach  you  because  of  failure  to  send  in  this  advance  notice.  The  Post  Office  will 
not  forward  copies  unless  extra  postage  is  provided  by  you. 


I 


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REVERE  "80" 
PROJECTOR 

gives  you  precision  con- 
struction at  no  extra  cost. 
It  leads  in  features  essential 
to  clear  projection,  depen- 
dability, and  complete 
film    protection. 

•  Silent,  powerful  heavy- 
duty   AC-DC    motor. 

•  High-ratio  duplex  shuttle 
film    movement. 

•  Fully  enclosed  mechanism 
for  drive  and  power  re- 
wind. 

•  Radio  interference,  elim- 
inator. 

•  Manual  clutch  for  "stills." 

•  Large  15  tooth  sprockets 
with  safety  roller  film 
guides. 

Complete  with  proven  long- 
life  500-watt  lamp,  fast 
F  1.6  lens,  and  one  300-ft. 
reel,    $75.00. 

REVERE  "85" 
PROJECTOR 

Same  as  "80"  plus  Micro- 
Tilt,  Duo-Shield  Light-  Dif- 
fuses Beam  Threading  Light 
and  Carrying  Case, 

$89.50 


CAMERAandPROJECTOR 


To  have  home  movies  that  are  absolutely  steady, 
brilliant,  and  sharp,  you  need  precision  construe 
tion  in  both  the  camera  and  the  projector. 

The  Revere  8  mm  Camera,  embodying  many  ad- 
vanced features,  takes  perfect  movies  because 
every  step  in  its  manufacture  is  checked  with  sci- 
entific accuracy.  Parts  must  fit  with  watch-like 
precision.  Tolerances  of  some  parts  are  held  to 
.00025  of  an  inch.  The  Revere's  automatic  film- 
loop  sprocket  contributes  to  steady  movies  by  eli- 
minating tugging  on  the  film  gate.  The  high-ratio 
duplex  shuttle  film  movement  and  rotary  disc  shut- 
ter pull  the  film  down  in  front  of  the  lens  and  hold 
it  firmly  for  exposure  of  each  frame.  Speed  of  op- 
eration is  regulated  by  a  positive  governor  control. 
Each  of  the  5  speeds  is  set  by  stroboscope. 

The  Revere  8  mm  Projector  shows  these  more 
carefully  made  movies  at  their  brightest  and  best. 
Because  precision  is  scientifically  checked,  all  parts 
of  the  Revere  Projector  function  smoothly  and  as- 
sure flickerless  movies,  maximum  screen  brilliance, 
and  quiet  operation. 

Revere  Cameras  and  Projectors  are  easy  to  load 
and  to  use.  They  have  simplified  home  movies  still 
further  and  have  made  this  fine  hobby  more  popu- 
lar than  ever.  Ask  your  dealer  to  show  you  preci- 
sion-built Revere  equipment.  Write  for  literature. 
Revere  Camera  Company,  Dept.  2MM,  320  East 
21st  Street,  Chicago,  Illinois. 


Revere 


REVERE   "99"   TURRET   CAMERA 


For  those  who  want  instant 
interchangeability  of  lens 
equipment,  the  Revere  "99" 
Camera  is  the  answer.  Its 
rotating  turret  head  holds 
3  screw-type  lenses.  This 
camera  also  has  an  extra 
view  finder  for  use  with 
telephoto  lenses.  Complete 
with  one  Wollensak  F  2.5 
lens,    $77.50 


MOVIE    MAKERS 


51 


ACL  VOLUNTEER  REGISTRATION 


IF  YOU  are  willing  to  aid  our  country's  war  effort  by  making  or  projecting  8mm.  or  16mm.  motion 
pictures,  you  can  further  the  war  service  of  the  Amateur  Cinema  League  by  answering  this  pre- 
liminary questionnaire. 

The  answers  to  these  questions  will  be  helpful  in  presenting  the  capacities  of  the  Amateur  Cinema 
League  to  agencies  and  organizations  performing  important  wartime  work. 

This  questionnaire  has  no  connection,  direct  or  implied,  with  governmental  agencies.  It  is  in  no 
sense  mandatory,  nor  does  answering  it  obligate  the  signer  to  any  specific  duty  or  guarantee  to  him 
any  service.  If  you  answer  this  questionnaire,  the  donation  of  your  time  and  services  will  still  be 
entirely  voluntary.  Such  volunteer  service  will  in  no  way  exempt  you  from  calls  for  your  service 
by  official  governmental  agencies. 

The  answers  to  the  questionnaire  will  simply  constitute  a  survey  of  your  willingness  to  lend  your 
movie  skill  to  whatever  projects  and  services  the  proper  authorities  consider  most  useful. 

Movie  makers  who  are  not  members  of  the  Amateur  Cinema  League,  as  well  as  ACL  members, 
are  invited  to  fill  in  this  questionnaire.  No  commercial  use  will  be  made  of  the  names  and  addresses 
obtained  in  this  way. 


^T  Filming   Equipment 

1.  Make  and  model  of  camera 


2.  Camera    speeds 

3.  Lens  equipment 

4.  Tripod 


5.  Exposure  meter 

6.  Lighting     equipment 


^  Projection  Equipment 

1.  Make  and  model  of  projector 


2.  Silent  or  sound 

3.  Lamp  power 


4.  Size  of  screen  used 

5.  Double    turntable    equipment 


^T  Filming  Experience 


^  Personal  Data 


1.  How   many    years   have    you    been    making    movies?  1.  How  much  time  could  you  give 


ive? 


2.  How    many    hundred    feet     do     you     film    yearly? 

3.  In  what  types  of  subjects  do  you  specialize?  


4.  What  experiences  have  you  had  in  making  practical, 
educational,  scientific  or  business  films?  

5.  What  experience  have  you  had  in  group  productions 
(e.g.  club  productions)?  


2.  Could  you  give  it  entirely  on  a  voluntary  and  unpaid 
basis? 

3.  What   kind    of   services   would   you   prefer   to    give? 


4.  A 


rf 


re    you    willing    to    serve    in:     Your    community: 

Your  County? Your    State? 

In  the  L'nited  States?  Abroad? 


5.  Age? 


6.  Married  or  single?  

7.  Any    physical    handicaps? 


Name 
Street 
City    . 


btate 


MAIL  TO 

Amateur  Cinema  League,  Inc. 
420  Lexington  Avenue        New  York,  N.  Y. 


52 


FEBRUARY    1942 


FREE  FILM  REVIEWS 


You  can  borrow  these  new  publicity  movies  without  charge 


THESE  films,  the  latest  publicity  pic- 
tures produced,  are  offered  on  loan, 
without  charge.  Some  may  be  available 
to  individuals,  and  others  are  available 
only  to  clubs  or  groups.  In  certain  cases, 
the  type  of  organization  to  which  the 
films  are  lent  without  charge  is  speci- 
fied. To  borrow  these  films  for  a  screen- 
ing, write  directly  to  the  distributor, 
whose  address  is  given.  (Note  carefully 
the  restrictions  mentioned  in  each  case.) 


LATEST  RELEASES 

In  All  the  World,  1  reel,  1200  feet, 
16mm.  sound  on  film,  color;  produced 
by  Great  Northern  Railway. 

Offered  to:  groups  and  individuals. 

Available  from:  U.  S.  Travel  Bu- 
reau, 45  Broadway,  New  York,  N.  Y. 

In  All  the  World  takes  the  audience 
on  a  trip  by  motor  coach  through 
Glacier  National  Park  and  the  Cana- 
dian Rockies.  Both  the  scenic  beauties 
and  the  extensive  recreational  facilities 
of  this  area  are  featured. 

Educator's  comment:  Students  will 
enjoy  the  lovely  color  scenes  and  will 
learn  to  appreciate  the  real  beauties  of 
our  great  Northwest. — E.D.C. 

Oil  for  Aladdin's  Lamp,  3  reels,  1030 
feet,  16mm.  sound  on  film,  black  and 
white;  produced  by  the  J.  Walter 
Thompson   Company. 

Offered  to:  groups  and  individuals 
east  of  the  Rockies. 

Available  from:  Public  Relations 
Department.  Shell  Oil  Company,  Inc., 
50  West  50th  Street,  New  York,  N.  Y. 

In  Oil  for  Aladdin  s  Lamp,  the  audi- 
ence gets  a  glimpse  into  a  little  known 
but  increasingly  important  phase  of  the 
oil  industry — the  creation  of  chemical 
miracles  from  petroleum.  In  a  trip 
through  Shell's  "University  of  Petro- 
leum," we  see  made  before  our  eyes 
such  products  as  rubber,  cellophane, 
antiseptics,  antifreeze,  perfumes,  vita- 
min E  and  glycerin. 

Educator's  comment:  This  is  an  in- 
teresting picture  for  chemistry  students 
or  for  general  science  students  of 
junior  and  senior  high  school  age  who 
are  studying  petroleum. — E.D.C. 

It  Looks  Like  New,  850  feet.  16mm. 
sound  on  film,  color;  produced  by  Film 
Associates. 

Offered  to:   groups  only. 

Available  from:  Quick  Cleaners, 
Inc.,  Dayton,  Ohio,  and  Lexington,  Ky. 

This  motion  picture  portrays  the 
many  steps  through  which  various  arti- 
cles of  clothing  pass  in  a  modern  dry 


cleaning  plant.  Some  of  these  are  sort- 
ting,  weighing,  cleaning,  pressing,  re- 
pairing, inspecting  and  packaging.  Also 
shown  are  the  processes  in  cleaning 
rugs  and  in  fashioning  fur  coats. 

Going  to  College,  1200  feet,  16mm. 
silent  film,  color;  produced  by  Robert 
D.  Mullin  and  the  University  of  Tulsa. 

Offered  to:  groups. 

Available  from:  Robert  D.  Mullin, 
Filmcraft  Studio,  Tulsa,  Okla. 

Going  to  College  is  the  story  of  a  boy 
and  girl  who  visit  the  University  of 
Tulsa  in  the  spring  of  their  senior  high 
school  year,  to  see  what  the  college  has 
to  offer.  They  meet  two  students  of  the 
University  who  conduct  them  on  a  tour 
of  the  campus.  Not  only  do  they  see 
the  sights  and  meet  some  of  the  faculty, 
but  by  means  of  flash  backs  the  high 
lights  of  the  year's  activities  are  illus- 
trated. 

The  Iso  Color  Process,  400  feet,  16mm. 
silent  film,  black  and  white  and  color; 
produced  by  Hartley  Productions. 

Offered  to:  groups  only. 

Available  from:  Spectrum  Prod- 
ucts Company,  Inc.,  33  West  60th 
Street,  New  York,  N.  Y. 

This  film  depicts  the  procedure  of 
making  a  natural  color  print  by  the  Iso 
Color  Process,  from  any  kind  of  sep- 
aration negative.  These  prints  can  be 
made  by  an  amateur  in  his  darkroom, 
with  small  investment.  The  extreme 
simplicity  of  this  method  has  made  it 
possible  to  show,  for  the  first  time  in 
the  history  of  color  photography,  a 
complete  color  printing  procedure  in 
fifteen  minutes. 

The  Champions  Write,  15  minutes, 
16mm.  sound  on  film,  color;  produced 
by  Donald  Manashaw. 

Offered  to:  groups,  especially 
schools  and  colleges. 

Available  from:  Gregg  Publishing 
Company,  270  Madison  Avenue,  New 
York,  N.  Y. 

This  movie  shows  eight  of  the  fastest 
shorthand  writers  in  the  country  and 
the  secrets  behind  their  speed.  The  film 
is  designed  to  be  screened  before  high 
schools,  colleges  and  business  schools 
throughout  the  country. 

Army  in  Overalls,  1  reel,  400  feet, 
16mm.  sound  on  film,  black  and  white; 
produced  by  the  Office  for  Emergency 
Management. 

Offered  to:  groups  and  individuals. 

Available  from:  Y.M.C.A.  Motion 
Picture   Bureau,   347   Madison   Avenue, 


New  York,  N.  Y.;  19  South  La  Salle 
Street,  Chicago,  111.;  1700  Patterson 
Avenue,  Dallas,  Texas;  351  Turk 
Street,  San  Francisco,  Calif. 

Army  in  Overalls  describes  the  work 
of  the  C.C.C.  in  cutting  timber,  build- 
ing roads  and  bridges,  clearing  fields 
for  use  by  the  air  force  and  learning 
how  to  use  small  guns.  The  relationship 
of  this  program  to  national  defense  is 
stressed  throughout  the  film,  to  give  it 
a  topical  aspect. 

Educator's  comment:  This  movie  is 
usable  in  high  school  modern  history 
classes,  to  show  the  work  being  done  by 
the  C.C.C— E.D.C. 

RECENT  RELEASES 

Exploring  with  X-rays,  4  reels,  16mm. 
and  35mm.  sound  on  film,  black  and 
white;  produced  by  General  Electric 
Company. 

Offered  to:  groups  only. 

Available  from:  Visual  Instruction 
Section,  General  Electric  Company, 
Schenectady,  N.  Y. 

The  history  of  X-rays,  from  their 
discovery  by  Roentgen  down  to  their 
manifold  uses  of  today,  is  set  forth  in 
forty  minutes  of  real  entertainment.  A 
good  scientific  explanation  of  the  proc- 
ess of  X-raying  is  given  by  Dr.  Coolidge, 
a  pioneer  in  the  field. 

Educator's  comment:  This  is  a  very 
good  film  for  high  school  physics  or 
college  science  classes  studying  the 
X-ray.  It  is  usable  also  in  biology  or 
health  classes,  to  explain  the  use  of 
X-rays  in  modern  medicine.  Finally,  as 
a  vocational  guidance  film,  it  might  be 
helpful  to  students  interested  in  becom- 
ing X-ray  technicians. — E.D.C. 

Cavalcade  of  Texas,  1800  feet,  16mm. 
sound  on  film,  color;  produced  by  In- 
terstate Circuit,  Inc. 

Offered  to:  groups  only. 

Available  from:  U.  S.  Travel  Bu- 
reau, 45  Broadway,  New  York,  N.  Y. 

This  travelog  of  the  Lone  Star  State 
shows  the  scenic  wonders  and  indus- 
trial cities  of  Texas.  Dallas,  Austin, 
Galveston,  El  Paso  and  Ft.  Worth  pass 
in  review,  as  do  the  cotton  fields,  cattle 
country,  lumber  districts,  citrus  areas, 
cement,  sulphur  and  petroleum  indus- 
tries and  the  many  historical  land- 
marks. The  ending  shows  some  repre- 
sentatives from  Texas  in  Washington, 
and  some  scenes  of  the  capital  are  in- 
serted. 

Educator's  comment:  This  is  an 
outstanding  travel  film  for  all  age 
groups  studying  Texas. — E.D.C. 


MOVIE   MAKERS 


53 


QTHRILLS! 


QCHILLS! 


"SNOW  THRILLS"  - ~ 

Skimming  ice  yachts!  Swooping  skiers!  Dogsled  racing 
through  a  biting  blizzard!  Mile-a-minute  bobsledding 
with  hazardous  spills!  A  picture  to  treasure  for  a  life- 
time! Edit  it  with  your  own  winter  shots! 

QSPILLS! 

**^KI  RFVFI V* An  epic  of  skiing!  The 

Will  lit  ■  LLO  ciimb  to  dizzy  heights. 
Flashing  figures  hurtling  to  the  valleys  with  express 
train  speed!  Dangerous  ski  jumps!  !Breath-taking  tum- 
bles! Here's  top  form  . . .  superb  skill  ...  a  picture  that 
will  leave  you  and  your  guests  gasping! 
All  Castle  16  mm.  films  are  processed  by  VAPO  RATE.  All  Castle  8  mm.  dims  are  also  treated. 


CASTLE 
FILMS 

*  ■  ■  - 


"ICE  CARNIVAL" 


Flashing  skates!  A 
leap  through  fire! 
A  great  pageant  on  ice,  with  famous  figure  skaters  in 
dazzling  performances!  Dancing  on  ice!  A  fiesta  on  ice! 
Here's  skill,  grace,  speed  .  . .  comedy,  a  harmony  of  mo- 
tion! Own  this  great  picture  now! 


ON  SALE  AT  ALL  PHOTO  DEALERS 


LOW 
COST 

8  mm. 

16  mm. 

50ft....$1.75 
i80ft 5.50 

iooft $2.75 

36o  ft 8.75 

SOUND  .  .  .  350  ft.  .  .  .  U7.50 

ggff 


New  1942  Castle  Films  Home  Movie  Cata- 
logue. Thrillingly  Illustrated!  Lists  100  ex- 
citing Castle  home  movies.  Send  for  it 
today! 


CASTLE  FILMS        RCA  BLOG.       FIELD  BLDG.       RUSS  BLDG. 
NEW  YORK         CHICAGO        SAN  FRANCISCO 


C  ADDRESS 
)  NEAREST 
)         OFFICE 


Please  send  me  Castle  Films'  new  1942  Free  Catalogue. 


Name- 


Address— 


City- 


State- 


-£ve^ 


oUr 


ScO 


\V»e 


^e 


se 


.e4 


^°  Screed'  ^ 

*°  a\so  ^S' 


CLASS-BEADED 

SCREEN 


THE    DA-LITE    CHALLENGER 

is  the  only  screen  that  can  be  ad- 
justed in  height  by  merely  releas- 
ing a  spring  latch  and  raising  the 
extension  support.  It  is  the  only 
screen  with  square  tubing  in  both 
the  center  rod  of  the  tripod  and 
the  extension  support.  12  sizes 
from  30"  x  40"  to  70"  x  94"  inclu- 
sive. From   $12.50      up. 


DA-LITE  JUNIOR 

can  be  hung  from  the  wall  or 
set  upon  a  table.  It  has  the  same 
beaded  fabric  as  is  used  in  the 
most  expensive  Da-Lite  model. 
4  sizes.  From   $2.00      up. 


DA-LITE   REPLACEMENT 
SCREEN  FABRICS 

If  your  screen  surface  has  be- 
come soiled  or  damaged,  ask 
your  dealer  about  Da-Lite  re- 
placement fabrics.  For  Da-Lite 
screens  there  is  no  additional 
charge  for  mounting. 
Make  your  screen  new  again 
with  a  Da-Lite  Glass-Beaded  Re- 
placement Fabric.  Available  for 
all  standard  sizes  of  screen  sur- 
faces. 


T^VERYONE  "9its  up  and  takes  notice"  when  you  start  showing 
your  home  movies  or  color  slides  on  a  Da-Lite  Glass-Beaded 
Screen.  Its  specially  processed  surface  sharpens  details  and 
brings  out,  with  full  hrilliance,  the  true  color  and  tone  values 
of  your  films.  The  heads  are  guaranteed  not  to  shatter  off.  The 
fahric  stays  pliahle  and  white.  See  Da-Lite  Screens  at  your  dealer's 
today!  Ask  for  a  demonstration!  Compare  picture  quality  and 
convenience!  You,  too,  will  prefer  a  genuine  Da-Lite — the  screen 
leading  projector  manufacturers  and  other  critical  buyers  use  and 
recommend.  Write  for  literature,  Dept.  2MM,  Da-Lite  Screen 
Company,  Inc.,  2711  North  Crawford  Ave.,  Chicago,  HI. 


DA-LITE  MODEL  "B" 
HANGING  SCREEN 

In  this  map  type  screen,  the 
Da-Lite  Glass-Beaded  fabric 
is  spring-roller-monnted  in  a 
metal  case  to  protect  it  from 
dust.  Ideal  for  game  or  pro- 
jection room.  Thirteen  sizes, 
including  square  sizes  from 
22"  x  30"  up  to  84"  x  84". 
From  $6.50     up. 


^Prices  slightly  higher  on  Pacific  Coast. 


WAett 


cm 


R EC  U.S.PAT.  OFF. 


55 


REGISTER    NOW! 


ELSEWHERE  in  this  number  of  Movie  Makers 
will  be  found  an  Amateur  Cinema  League  regis- 
tration form  for  personal  filmers  who  wish  to  list 
themselves  for  possible  war  service  as  movie  makers 
and  movie  showers. 

Just  as  the  United  States  government  will  register 
a  large  number  of  American  males  in  the  month  of 
February  for  war  service,  so  it  seems  reasonable  for 
the  Amateur  Cinema  League  to  take  a  voluntary  cen- 
sus of  filmers.  This  census  is  in  no  way  mandatory 
or  official,  nor  has  it  any  connection,  direct  or  implied, 
with  any  governmental  agency.  It  is  entirely  the  act 
of  the  Amateur  Cinema  League,  designed  to  enable 
the  League  to  meet  more  intelligently  the  requests 
that  may  come  to  it  from  a  number  of  sources,  all 
of  which  will  be  requests  for  war  service  of  one  kind 
or  another. 

Voluntary  registration  with  the  Amateur  Cinema 
League  by  personal  filmers  cannot,  of  course,  obli- 
gate them  to  any  specific  performance  or  guarantee 
service  to  them,  nor  can  it,  in  any  manner,  be  per- 
mitted to  get  in  the  way  of  whatever  summons  may 
come  from  the  United  States.  It  is  only  an  informal 
census,  but  a  reasonable  census  that  may  enable 
patriotic  movie  makers  to  be  of  practical  and  definite 
service  later. 

All  filmers  are  invited  to  register  with  the  Amateur 


Cinema  League.  There  is  no  intention  to  limit  the 
registration  to  League  members  nor  to  make  mem- 
bership in  the  League  prerequisite  to  any  service  that 
the  League  may  be  able  to  bring  to  the  attention  of 
movie  makers.  This  registration  is  an  effort  to  estab- 
lish a  roster  of  those  men  and  women  who  have  sub- 
standard cinematographic  skills  of  various  kinds  and 
who  want  to  make  those  skills  available  in  the  war 
effort  if  they  should  be  needed. 

The  names  of  persons  who  register  will  not  be 
given  to  any  but  proper  agencies  that  are  well  recog- 
nized nationally  as  either  governmental  units,  national, 
regional  or  local,  or  as  semi  public  institutions  that 
have  a  proper  status  in  the  war  effort  of  our  country. 
No  commercial  use  whatever  will  be  made  of  the 
names  of  any  registrants. 

There  are  many  men  and  women  who  would  be 
glad  to  serve  the  nation  as  movie  makers  if  their  ser- 
vice is  not  preempted  by  other  agencies  with  prior 
rights.  Filling  out  the  registration  blank  on  page  5  1 
of  this  number  of  Movie  Makers  does  nothing  more 
than  to  state  the  willingness  to  serve,  if  that  service 
is  needed,  and  to  indicate  the  ways  in  which  that 
service  could  be  offered. 

The  Amateur  Cinema  League  confidently  expects 
a  large  registration  of  patriotic  filmers. 


The  AMATEUR  CINEMA  LEAGUE,  Inc. 

whose  voice  is  Movie  Makers,  is  the  international  or- 
ganization of  movie  amateurs,  founded  in  1926  and 
now  serving  filmers  in  many  countries.  The  League's 
consulting  services  advise  amateurs  on  plan  and  execu- 
tion of  their  films,  both  as  to  cinematographic  tech- 
nique and  continuity.  It  serves  amateur  motion  picture 


clubs  in  organization,  conduct  and  program  and  pro- 
vides for  them  a  film  exchange.  It  issues  booklets.  It 
maintains  various  special  services  for  members.  The 
League  completely  owns  and  operates  Movie  Makers. 
The  directors  listed  below  are  a  sufficient  warrant  of 
the  high  type  of  our  association.  Your  membership 
is  invited.  Five  dollars  a  year. 


Hiram    Percy    Maxim,    Founder 

DIRECTORS    OF    THE     LEAGUE 


£*£^1 


STEPHEN  F.  VOORHEES,  President 

JOHN  V.  HANSEN,  Vice  President 

ETHELBERT    WARFIELD,     Treasurer 

C.   R.  DOOLEY 

MRS.   L.   S.   GALVIN 

H.  EARL  HOOVER    . 

HAROLD    E.    B.    SPEIGHT 

FLOYD    L.    VANDERPOEL 

T.    A.    WILLARD      . 

ROY   W.   WINTON,   Managing  Director 


.     New  York  City 

Washington,  D.  C. 

New  York  City 

New  York  City 

Lima,  Ohio 

Chicago,   111. 

Ithaca,  N.  Y. 

Litchfield,  Conn. 

Beverly  Hills,   Calif. 

.     New  York  City 


Address   all    inquiries  to 

AMATEUR  CINEMA  LEAGUE,  INC. 

420  LEXINGTON  AVE.,  NEW  YORK  CITY.  U.S.A. 

Amateur  Cinema    League  offices    are  open  from 
9:00  A.M.  to  5:00  P.M.,  Mondays  through  Fridays 


56 


Signs  of  the  vernal 
season  supply  the  film 
material  in  Spring, 
produced  by  Georgia 
First,  ACL,  of  Rock 
Island,  111.  This  is  a 
subject  that  is  al- 
ways new  and  always 
interesting, 


Dr.  Lucius  W.  Case, 
ACL,  of  Pomona, 
Calif.,  included  this 
magnificent  shot  in 
his  picture,  Flowers, 
a  topic  among  many 
others  that  has  no 
possible  wartime  re- 
striction. 

The  lowly  robin  is 
the  theme  of  Mr.  and 
Mrs.  Robin,  filmed  by 
T.  J.  Courtney,  in 
wartime  Halifax, 
Nova  Scotia.  You 
need  not  look  for  the 
rare  species  of  sub- 
ject matter  to  make 
a  good  film. 


In  Little  and  Lively, 
Lawrence  Kakatsch, 
of  Milwaukee,  Wise, 
tells  of  the  dream- 
land adventures  of  a 
very  small  boy  who 
falls  asleep  over  a 
picture  book. 


Will  wartime  filming  restrictions 
greatly  hamper  the  typical  movie 
maker's  choice  of  subject  matter? 
Not  much,  if  these  frames,  selected 
from  recent  amateur  movies,  are 
any  guide.  There  is  scarcely  a  shot 
on  this  page  that  would  be  tabu 
under  the  most  stringent  war  regu- 
lations. 


% 


me 


ty>iam&L 


Well  lighted  portrait 
shots  introduce  the 
characters  in  One 
Quiet  Evening,  a  pho- 
toplay by  C.  J.  Hewitt, 
ACL,  of  Portsmouth, 
Va. 


Fall  foliage  and  New 
England  architecture 
are  combined  in  Na- 
ture Paints  the  Scen- 
ery, by  Lester  Shaal, 
ACL,  of  Edgewood, 
R.    I. 


The  movie  maker 
turns  the  camera  on 
himself  in  Making  the 
Grade,  a  cine  novelty 
by  George  Mesaros, 
ACL,  of  New  York 
City. 


Mrs.  E-rma  Nieder- 
meyer,  ACL,  of  Mil- 
waukee, Wise,  caught 
the  hunter  at  early 
dawn,  in  this  excel- 
lent frame  from 
Ducks  vs.  Hunters. 


57 


HOW  A  CLUB   PLANS   WAR  FILMS 


WHILE  amateur  movie  clubs  across  the  country  are 
eagerly  awaiting  word  from  a  busy  Administration 
as  to  how  they  may  aid  the  war  effort,  there  is  one  essen- 
tial job  that  we  can  all  do  now — Get  Organized! 

The  group  production  of  civilian  defense  and  first  aid 
auxiliary  films  is  the  most  important  opportunity  that  we 
personal  movie  makers  have  had  since  the  hobby  began. 
It  is  one  which  should  not  be  bungled  by  unpreparedness, 
inefficiency  or  internal  squabbles.  If  we  are  going  to  do 
a  good  job,  we  must  be  ready  and  organized  to  do  it, 
with  a  clear  cut  idea  on  the  part  of  each  member  of  the 
club  as  to  what  his  job  will  be.  To  aid  in  that  important 
undertaking,  the  staff  of  Movie  Makers  has  called  on 
experienced  club  leaders  for  their  advice.  We  have 
checked  and  balanced  their  reports,  aligned  them  with 
our  own  experience  of  more  than  fifteen  years  in  the 
craft  and  have  built  up  from  these  data  an  idealized 
structural  guide  for  group  film  production.  It  is  pre- 
sented herewith  in  outline  form  and,  below,  in  a  chart. 
To  begin  with,  it  should  be  understood  that  all  tasks 
in  a  filming  effort  of  this  kind  are  important  to  its  suc- 
cess. If  the  assistant  personnel  clerk  slips  up  on  an  assign- 
ment, the  result  can  be  just  as  serious  a  stumbling  block 
in  the  film's  progress  as  if  the  first  cameraman  missed 
an  exposure  or  the  director  a  proper  sequence  of  his 
action.  We  cannot  all  wield  the  megaphone  or  get  behind 
a  camera.  What  counts  in  this  type  of  film  work  is  the 
high  quality  of  the  results,  and  such  quality  is  not  arrived 
at  by  assigning  twelve  different  sequences  to  twelve  differ- 
ent cameramen — and  then  wondering  sadly  why  the 
dozen  varied  "takes"  don't  match.  This  is  no  picnic,  but 
a  serious  production  project. 

The  Supervisor 

The  first  job,  and  the  toughest,  is  one  of  responsibility. 
The  club  should  choose  from  its  ranks  that  member  best 
qualified  by  experience  to  guide  the  progress  of  the 
entire  production.  He  need  not  be  your  best  movie  maker 
or  even  a  very  good  one.  But  he  should  be  a  capable 
executive  and  one  skilled  in  winning  the  cooperation  of 
all  the  varied  elements  he  must  control. 

It  should  be  the  primary  task  of  the  supervisor  to  serve 
as  liaison  officer  between  the  club  and  the  client,  which 
might  be  an  organization,  a  committee  or  an  official.  It 
should  be  his  ultimate  responsibility  to  make  sure  that 
the  needs  of  the  club  and  the  wishes  of  the  client  are 
clearly  understood,  one  by  the  other.  To  him,  the  pro- 


Ouflme  for  organization 
of  volunteer  film  group 


JAMES     W.     MOORE,     ACL 

duction  supervisor — who  works  only  with  the  club  mem- 
bers— shall  report  their  plans  for  production,  both  gen- 
eral and  specific.  It  is  the  duty  of  the  supervisor  in  turn 
to  lay  these  plans  before  an  appointed  representative  of 
the  client,  for  approval,  disapproval  or  suggested  modi- 
fication. When  any  given  plan  has  been  approved  by  the 
client,  it  is  the  responsibility  of  the  supervisor  to  make 
sure  that  the  client  clearly  understands  the  obligations 
undertaken  therein  as  to  personnel,  properties  and  phys- 
ical settings  under  the  client's  control  and  that  these  shall 
be  available  at  the  time  and  place  specified.  All  in  all, 
it  is  a  tough,  exacting  job,  requiring  the  tact  of  a  diplo- 
mat, the  energy  of  a  dynamo  and  the  patience  of  a  Job. 

The  Production  Supervisor 

With  the  supervisor  engaged  in  assuring  that  all  matters 
run  smoothly  between  club  and  client,  the  production 
supervisor  is  left  free  for  the  full  time  job  of  correlating 
all  efforts  within  the  club.  Largely,  these  responsibilities 
will  be  worked  out  in  periodic  production  conferences 
preceding  each  different  period  of  shooting,  wherein  the 
details  of  the  work  ahead  will  be  discussed  and  the  vari- 
ous requirements  for  carrying  out  this  work  made  clear. 
Such  conferences  will  be  attended  by  the  supervisor, 
production  supervisor,  director,  first  cameraman,  per- 
sonnel clerk  and  property  man,  so  that  the  duties  of  each 
may  be  understood  accurately.  At  such  time,  cameraman 
and  director  will  outline  the  action  entailed  in  the  com- 
ing sequence,  the  personnel  involved  (both  in  and  out  of 
the  club),  the  settings,  costumes  and  properties  required. 
Arrangements  for  any  of  these  which  involve  the  coopera- 
tion of  the  client  (such  as  the  use  of  a  fire  engine,  two 
policemen  and  a  radio  patrol  car)  are  the  responsibility 
of  the  supervisor  or  liaison  chief,  assisted  by  such  de- 
partment heads  as  properties  and  personnel.  Arrange- 
ments for  all  other  needs  shall  rest  in  the  hands  of  the 
production  supervisor,  who  will  call  in  the  staff  involved 
and  outline  the  requirements  of      [Continued  on  page  73] 


SUPERVISOR 

T 

Production  Supervisor 


Publicity 


~1 

Stills 


Transport 


Director 


Properties  and  Locations  First  Cameraman 

T  T  T 

Ass't  Properties  Ass't  Camera  Lighting 


Personnel  Clerk 

T 

Ass't  Personnel  Cleric 


58 


IN  FEBRUARY,  1940,  an  eager  group  of  high  school 
1  seniors  at  Oakvale,  W.  Va.,  set  out  to  "make  a  movie." 
Hopes  were  high,  few  thought  of  it  as  more  than  a  final 
adventure  that  would  climax  an  interesting  high  school 
career,  and  everybody  looked  forward  to  at  least  two 
weeks  of  pleasant  fun  with  a  little  work  thrown  in. 

Three  months  later,  a  tired  and  much  soberer  group  of 
students,  with  a  sigh  of  satisfaction  that  came  right  up 
from  their  shoe  soles,  sat  down  to  the  first  preview  of 
their  completed  production.  Those  three  months  hold  a 
story  of  deflated  optimism,  rising  hopes,  tragic  delays, 
amusing  interludes  and  downright  hard  work.  Said  a  stu- 
dent spokesman  for  the  group,  "It's  fun  to  be  making  our 
own  movies.  But,  gosh!  It  takes  work,  too!" 

Now,  film  production  at  Oakvale  was  no  new  thing. 
Almost  all  these  students,  at  one  time  or  another  during 
their  high  school  life,  had  worked  behind  or  in  front  of 
the  camera.  In  fact,  they  had  seen  so  much  of  it  that  they 
approached  the  production  ahead  of  them  with  consider- 
able casualness  and  not 
a  little  sophistication. 

Previous  productions 
in  the  school  had  al- 
ways been  turned  over 
to  some  instructor  in 
whose  hands  the  thing 
just  seemed  to  grow  up 


This  high  school  found 
film  skills  through  work 

GODFREY     ELLIOTT 

without  any  great  amount  of  effort.  This  was  going  to  be 
a  "cinch."  However,  two  months  later,  they  were  stewing 
over  the  approach  of  an  inexorable  dead  line.  But,  wait — 
the  story  gets  ahead  of  itself. 

This  is  really  the  tale  of  how  a  group  of  teen  age  young- 
sters attempted  to  solve  a  local  safety  problem  through 
the  serious  production  of  a  motion  picture  that  could  be 
used  to  show  correct  safety  habits.  The  school  had  been 
invited  to  participate  in  the  safety  film  project  that  was 
being  sponsored  by  Ohio  State  University's  Bureau  of 
Educational  Research  and  the  Highway  Education  Board. 
Each  of  ten  schools  was  to  produce  a  short  film,  dealing 
with  some  phase  of  local  traffic  safety. 

The  school  authorities  at  Oakvale  decided  to  turn  the 
local  project  over  to  some  school  group  already  organ- 
ized and  functioning,  in  order  that  the  film  production 
could  be  made  an  educational  activity.  With  this  view  in 
mind,  the  project  was  offered  to  the  senior  class.  This 
group  of  twenty  one  youngsters  accepted  with  alacrity. 
Two  of  their  instructors  (in  English  and  in  science)  con- 
sented to  develop  the  production  activities  as  a  part  of 
the  day  to  day  work  in  their  classes.  All  work  on  the 
project    was    to    be    integrated      [Continued  on  page  76] 


59 


o)* 


HOML 


HERE  is  a  scenario  to  help  you  to  record  the  fun 
around  your  house  in  snowtime.  But  don't  feel  tied 
down  to  these  specific  scenes,  for  the  exact  choice  of  shots 
does  not  matter  in  a  winter  family  film.  Perhaps  other 
equally  absurd  actions  take  place  in  your  neighborhood. 
Fit  the  scenario  to  the  fun,  whatever  it  may  be.  Simply 
bear  in  mind  the  basic  continuity,  which  shows  mis- 
chievous winter  sport,  and  then  consider  the  price  that 
children  may  pay  for  it  in  cleaning  up.  Finally,  think 
of  the  manner  in  which — all  too  often — the  tables  are 
turned  around  again. 

On  the  other  hand,  perhaps  you  would  rather  not  spend 
so  much  film  on  the  intricacies  of  a  story.  Perhaps  you 
would  like  to  show,  in  200  feet  or  so,  all  the  various  out- 
door interests  of  the  family.  Then  you  can  organize  the 
picture  in  a  loose  sort  of  way,  by  putting  together  in  the 
first  sequence  all  the  symbols  of  winter — the  "arty"  shots, 
if  you  will — branches  covered  writh  icicles,  frozen  milk 
bottle  tops,  sprays  of  snow  from  rotary  plows,  winter 
store  windows  and  so  forth. 

For  another  sequence,  you  might  picture  the  worries 
that  arrive  with  the  first  storm.  Make  the  subjects  large 
and  general  or  small  and  domestic.  Shoot  gangs  of 
shovelers,  or  your  own  boy  cleaning  the  sidewalk:  take 
lines  of  cars  on  a  slippery  highway,  or  your  own 
troubles  with  chains:  pick  up  crowds  easing  their  way 
along  slick  sidewalks,  or  (filming  from  outside  the 
house)  your  wife  trying  to  open  a  window  stuck  fast  by 
the  ice. 

Naturally,  your  next  section  wTill  deal  with  the  fun  of 
wintertime.  Nobody  needs  to  tell  you  of  the  excitement 
in  a  child's  face  just  before  he  takes  off  on  his  sled  from 
the  ridge  of  a  hill.  You  can  anticipate  your  audience's 
reaction  to  a  closeup  of  a  boy  who  is  just  recovering 
from  a  tumble  into  a  snowdrift.  These  shots  will  give 
your  "fun"  sequence  a  real  "punch." 

But,  in  case  you  want  a  tailored  scenario,  here  is  one 
ready  to  film. 

1.  Main  title.  SNOW  FUN.  (Spell  out  the  letters  in 
clean  white  snow,  by  spilling  water  through  a  funnel  that 
is  held  above  the  camera  and  out  of  the  lens  field.  After 
filming  the  title  long  enough  for  reading  time,  wash  it 
off  completely,  by  pouring  water  on  it  from  a  pail,  again 
held  above  camera  range.) 

2.  Credit  titles.  Filmed  by — .  (This  and  other 


Harold   M.   Lambert  from   Frederic  Lewis 

Dad's  pipe  is  appropriated  to  embellish  the  snowman 

A  cine  tale  of  the  family 
as  it  enjoys  wintertime 

BENJAMIN    F.    FARBER,    jr.,    ACL 

titles,  if  necessary,  should  be  filmed  in  a  similar  manner. 
Following  the  last  "wash  off,"  tilt  the  camera  upward,  to 
reveal  the  next  scene.) 

3.  Medium  shot.  Hank,  a  boy  between  ten  and  six- 
teen, empties  a  pail  of  water  on  the  broad  cement  drive- 
way outside  a  home  garage.  (If  this  location  is  hard  to 
get,  simply  use  the  street  in  front  of  your  house.)  He 
looks  at  the  cleared  wet  place  and  then  up  at  the  sky. 

Title.  "H'mm,  guess  that  oughta  freeze  pretty  fast.  Bet- 
ter get  my  skates  ready." 

4.  Closeup.  Hank  gazes  at  the  sky  briefly  as  he  pon- 
ders the  weather  conditions. 

5.  Closeup.  Nancy,  aged  five  to  ten,  gazes  upward. 

6.  Medium  shot.  Nancy  and  several  children  who  are 
at  work  on  a  huge  snowman.  Nancy  joins  the  other  chil- 
dren. (Here  you  can  include  other  closeups  of  children 
who  are  happily  packing  and  shaping  the  snow  into  arms, 
shoulders  and  head.) 

7.  Semi  closeup.  Dorothy,  aged  eight  to  thirteen,  looks 
up  at  the  snowman's  head  and  thinks  very  hard,  one  mit- 
tened  finger  in  her  mouth.  Suddenly  she  gets  a  bright 
idea  and  races  off  for  the  house.  Follow  her  with  a  "pan." 

8.  Closeup.  From  outside,  Dorothy  opens  the  door  of 
the  house  and  enters,  leaving  large  footprints  of  snow  on 
the  carpet,  seen  through  the  open  door.  Hold  this  scene 
for  a  second. 

9.  Closeup.  Dorothy's  hand  empties  a  box  of  buttons 
on  a  table.  She  selects  two  very  large  buttons,  and  the 
hand    disappears,    leaving    the      [Continued  on  page  75] 


60 


SPECIAL  PROJECTION  AIDS 


Devices  that  will  help  you  in  presenting  a  movie  show 


4/36   brass  nut 


'/." 


3/16" 


WHEN  you  have  worked  out  a  carefully  scored  sound 
on  disc  accompaniment  for  one  of  your  films,  you 
will  want  to  run  your  projector  at  a  speed  of  exactly 
sixteen  frames  a  second.  If  the  picture  speeds  up  or  lags, 
your  sound  effects  will  be  awkward,  and  the  musical 
changes  may  occur  at  the  wrong  times.  Variation  in  pro- 
jector speed  is  especially  troublesome  if  you  have  made 
recorded  discs  or  if  you  have  "faked"  lip  synchronism. 

Since  sound  on  disc  and  phonograph  record  accom- 
paniment are  the  only  means  by  which  music  or  sound 
effects  can  be  presented  with  8mm.,  it  seems  to  me  that 
it  is  especially  important  to  be  able  to  know  when  your 
8mm.  projector  is  running  at  exactly 
sixteen  frames  a  second — no  more, 
no  less. 

I  have  worked  out  a  speed  indica- 
tor for  my  Keystone  R  8  projector — 
a  device  that  could  be  used  on  most 
types  and  makes  of  8mm.  projectors, 
with  a  few  changes  that  the  particu- 
lar design  of  a  given  machine  will  readily  suggest. 

After  considerable  investigation,  I  discovered  that  a 
stroboscope  furnished  the  most  accurate  method  of  speed 
indication  and  that  it  was  simplest  to  build.  There  is  only 
one  moving  part  on  the  Keystone  8  projector  which  can 
motivate  a  stroboscope.  It  is  the  large  driving  pulley  on 
the  motor  side  of  the  projector,  which  transmits  motion 
to  the  entire  mechanism. 

The  first  step  is  to  design  the  stroboscope,  a  disc  com- 
posed of  alternate  black  and  white  segments.  Cut  the  disc 
from   white   cardboard   and,   on   it,   draw  a  number   of 
equally  spaced  lines,  radiating  from  the  center 
of  the  disc  to  its  periphery.  The  following  equa- 
tion gives  you  the  number  of  lines  required. 


tt: 


Fig.  I 


Fig.  2 


v°" 


,\Ae« 


,\ear  u  A  o° 

k  \o  c  \Ae<e 

Slotted  screw  hole       c^\  0*  v  4° 


#•>" 


alV* 


*A? 


4"x3/4'x  3/32" 
d>  —  Slotted  screw  hole 


HORACE     M.     GUTHMAN,     ACL 
t   x   f 


N 

r.p.m. 

N  —  number  of  lines 

t  —  times  in  seconds 

f  —  frequency  of  current 

r.p.m.  —  speed  of  the  pulley 

The  pulley  on  a  Keystone  projector  makes  one  revolu- 
tion for  each  frame,  and,  therefore,  it  has  a  speed  of 
sixteen  r.p.s.  or  960  r.p.m.  If  the  current  is  sixty  cycles, 
as  are  most  alternating  current  systems  in  this  country, 
the  equation  will  be  as  follows: 


N  = 


60  x  60 
960 


=  3.75  lines  or  segments 


As  we  cannot  work  with  a  part  of  a  segment,  we  must 
use  a  convenient  prime  number.  The  number  "15,"  which 
is  four  times  3.75,  is  the  best  choice.  At  this  stage,  by  the 
use  of  a  protractor,  we  shall  divide  our  disc  into  fifteen 
black  and  fifteen  white  segments  of  twelve  degrees  each. 
This  procedure  must  be  done  accurately,  for,  otherwise, 
the  stroboscope  will  not  work  properly. 

Since  the  projector  pulley  revolves  at  960  r.p.m.  and 
since  we  have  chosen  fifteen  segments  or  lines,  it  is  then 
necessary  to  use  a  four  to  one  step  up  gear  (3.75  x  4), 
to  bring  the  stroboscope  into  the  proper  speed  for  the 
number  of  segments  that  we  are  using. 

The  first  construction  step  is  to  remove  the  small  nut 
that  fastens  the  large  pulley  upon  the  shaft  and  to  place 
on  the  shaft  the  small  twenty  tooth  gear,  fastening  it  with 
the  small  nut  shown  in  Fig.  1. 

The  mounting  for  the  large  eighty  tooth  gear  is  shown 
in  Fig.  2. 


8/32  thread 


M  j  l  ifr<  8/32  nut  and  lock  nut 
'  '  !  '^  Tpns.nn  washer 
llllllllllllllli'llllllllllliniv-  Large  80  tooth  gear  with 
Tension  washer  ^.rrrn  stroboscope  attached 


8/32  nut  and  lock  nut' 


•  Above,  the  projector  with  stroboscope 
and  mirror  in  place.  This  picture,  from 
control  side  of  projector,  shows  strobo- 
scope in  mirror.  Right,  detail  of  gear 
and  stroboscope. 


61 


Brass  machine  screw  '/2J'x8  32  R.H 


Bottom  covered  with  felt 


Fig.  3 


The  two  small  machine  screws  that  hold  the  side  plate 
to  the  projector  are  removed,  and  the  mounting  is  then 
fastened  in  its  place  with  the  two  3$"  x  4,  36  machine 
screws.  The  slotted  screw  holes  shown  allow  the  proper 
adjustment  that  will  not  bind  or  slow  the  projector 
mechanism.  The  stroboscope  disc  is  exactly  centered  on 
the  large  gear,  and  it  is  cemented  to  it. 

Since  the  stroboscope  is  not  on  the  side  of  the  projec- 
tor on  which  the  controls  are  located,  the  operator  cannot 
readily  see  it  when  he   is   running  the  projector.   This 

problem  is  solved  by  the 
construction  of  a  device  to 
hold  a  mirror,  illustrated  in 
Fig.  3.  This  support  also 
holds  the  neon  lamp.  Con- 
struction details  are  shown 
in  Fig.  3. 

The  height  and  angle  of 
the  metallic  mirror  may  be 
adjusted  so  that  the  operator 
can  see  it  most  conveniently. 
This  adjustment  is  accom- 
plished by  drilling  and  tap- 
ping the  upright  support 
every  inch   and  bv  usins  a 


•  Projector  carrying  case,  at  left, 
closed  and,  below,  open  to  show 
how  projector  and  accessories  are 
packed. 


I  T  \ 


Fig.  5 


f 


k 


r^ 


long  machine  screw  in  the  lower  position.  The  bottom  of 
the  base  is  covered  with  felt,  to  prevent  its  scratching  the 
table. 

In  operation,  one  views  the  stroboscope  as  it  is  illumi- 
nated by  the  light  of  the  neon  lamp.  When  the  projector 
is  running  at  sixteen  frames  a  second,  the  black  segments 
on  the  disc  will  appear  to  be  motionless.  It  is  easy  to 
increase  or  to  decrease  the  speed  of  the  projector  until 
the  point  is  reached  at  which  the  segments  appear  to  be 
motionless. 

The  stroboscope  will  operate  only  on  alternating  cur- 
rent, because  the  illusion  of  the  motionless  segments  is 
created  by  the  fact  that  the  neon  lamp  is  actually  dark  a 
number  of  times  a  second,  sixty  times  a  second  in  the 
case  of  sixty  cycle  alternating  current. 

Here  is  a  list  of  materials  that  are  required  to  build  a 
stroboscope  for  a  Keystone  8. 

1  G-101  gear  20  teeth  %"  dia. 

1  G-lll  gear  30  teeth  2%"  dia. 

1  y±  watt  neon  bulb 

1  candelabra  key  socket 

1  V$  nipple  and  lock  nut 

6  ft.  lamp  cord  and  plug 

1  piece  sheet  iron  10"x4"xl/16" 

1   strip  iron  10"xi/2"xl/16" 

1  strip  iron  6"xy2"xl/16" 


Fig.  6 


-s^v=s 


1  strip  iron  4"x%"x3/32" 

6  nuts  8/32  thread   (brass) 

1  brass  rod  17S"  long  Vs"  dia.  8   32  thread— both  ends 

2  brass  tension  washers 

2  4/36  machine  screws — %"  long 

1  4/36  brass  nut  as  per  cut  Y±" 

Projector  carrying  case 

When  one  gives  a  show  for  an  institution  or  in  the 
home  of  a  friend,  he  must  carry  projector,  films  and 
screen  and,  if  he  uses  music,  he  must  also  carry  turn- 
tables, amplifier,  speaker  and  records.  In  carrying  all  this 
equipment,  I  have  found  it  easiest  to  use  the  smallest 
number  of  cases  possible. 

The  projector  carrying  case  shown  in  Figs.  4  and  5 
contains  space  for  almost  everything  that  is  necessary  for 
a  silent  show.  The  cover  has  sufficient  room  for  three  400 
foot  and  six  200  foot  reels  of  8mm.  film,  and  space  is 
provided  for  a  bottle  of  oil  and  a  cleaning  brush. 

The  projector  lamp,  neon  bulb  and  mirror  platform 
and  an  extension  cord  are  packed  around  the  projector. 
The  projector  is  securely  fastened  in  place  by  a  pair  of 
straps.  The  case  measures  ten  by  thirteen  by  sixteen  and 
a  half  inches,  and  it  is  built  of  three  quarter  inch  stock 
for  the  top  and  bottom,  while  the  four  sides  are  of  three 
eighths  inch  plvwood.  The  parts  are  glued  and  screwed 
together.  The  cover  has  a  projecting  lip  of  one  quarter 
inch,  to  help  keep  out  dust. 

The  cover  is  hinged  and  is  fastened  by  a  trunk  type 
hasp,  and  the  handle  is  an  iron  type  that  is  securely 
bolted  through  the  top.  The  case  was  built  as  a  solid  box. 
and  the  cover  was  sawed  off  after  completion. 

Every    part    was    thoroughly       [Continued  on  page  77] 


62 


A  POPULAR  TITLER  PLAN 


Specifications  that  have  evoked  wide  interest 


KENNETH     F.     SPACE,     ACL 


THE  item  in  The  clinic  department  in  Movie  Makers 
that  has  aroused  the  most  interest  in  the  past  year  is 
the  homemade  titler,  designed  by  A.  R.  Bowen,  ACL, 
which  appeared  in  the  September,  1941,  number. 

We  are  still  getting  requests  for  additional  assistance 
in  building  Mr.  Bowen's  titler,  so  that  we  are  here  pre- 
senting its  construction  diagrams  again.  While  the  basic 
design  is  the  same  as  that  originally  given,  we  have 
omitted  some  of  the  features  of  limited  use  that  were 
originally  included  by  Mr.  Bowen,  to  meet  his  particular 
needs,  and  we  have  included  additional  features  that  we 
believe  would  make  the  titler  more  flexible  and  efficient 
for  most  movie  makers. 

The  titler  which  has  resulted  from  this  collaboration 
will  accommodate  either  a  title  card  in  an  easel  frame  or 
a  piece  of  glass  that  can  be  used  when  titles  with  an  action 
background  are  desired.  After  you  have  set  up  this  titler, 
you  may  fix  the  camera  support  rigidly  in  position,  so 
that  the  titler  will  always  be  ready  for  use  in  making 
titles  with  a  card  of  a  given  size,  or  you  may  unlock  the 
camera  support  so  that  the  camera  can  be  moved  forward 
or  backward,  to  accommodate  title  cards  of  various  sizes. 


REMOVABLE 

AUXILIARY 

LENS 


Fig.  2.  Camera  and  auxiliary  lens  supports 

Finally,  if  your  camera  has  a  focusing  lens,  you  can  use 
this  titler  without  a  supplementary  lens;  on  the  other 
hand,  it  has  provision  for  a  supplementary  lens  that  may 
be  added  if  you  want  to  make  titles  with  a  camera  having 
a  fixed  focus  lens,  or  if  you  want  to  work  at  a  closer 
range  than  that  permitted  by  your  focusing  lens.  The 
optional  auxiliary  lens  support,  which  is  removable,  pro- 
vides this  feature. 

The  titler  dimensions  given  in  the  construction  diagram 
(Fig.  1)  on  this  page  are  planned  to  suit  all  average 
needs:  but,  should  you  have  a  special  function  in  mind, 
you  can  alter  them  to  suit  your  convenience.  In  making 
the  titler,  be  sure  to  use  well  seasoned  wood  that  will  not 
warp. 

The  camera  support  slides  freely  in  the  groove,  but  it 
may  quickly  be  locked  into  place  by  means  of  the  bolt 
through  the  base.  The  bolt  slides  into  the  slot  that  is  cut 
in  the  base  of  the  titler. 


'X 

MOULPINC, 


Fig.  I.   Diagram   and   dimensions  of  popular  titler 

The  supplementary  lens  can  be  slipped  into  the  holder, 
as  shown  in  Fig.  2.  The  support  of  the  lens  is  made  of 
tin  or  other  metal,  which  is  fastened  to  the  wood  block 
that  is  cut  to  fit  the  groove  for  the  camera  support.  In 
placing  the  supplementary  lens  support  in  the  titler,  you 
first  remove  the  camera  support  and  then  slide  the  lens 
holder  into  the  track  and  replace  the  camera  support. 
In  operation,  the  supplementary  lens  should  be  directly 
in  front  of  the  camera  lens  and  as  close  to  it  as  the  block 
will  allow. 

Since  the  camera  may  be  moved  forward  on  the  track 
for  closer  positions,  the  support  for  the  lights  is  also  de- 
signed to  slide  back  and  forth,  so  that  the  lights  may  be 
put  at  a  convenient  distance  from  the  camera.  While  the 
lights  shown  here  are  clamp  on  reflectors,  a  permanent 
installation  may  easily  be  constructed.  It  would  be  well 
to  note,  however,  that  the  design  of  the  lights  should  be 
such  that  the  lamps  can  be  rotated  on  their  bases,  so  that 
their  light  may  be  directed  fully  upon  the  easel,  no  matter 
how. close  to  the  easel  the  block  supporting  the  lamps  may 
be  advanced.  If  you  desire,  you  can  make  it  possible  to 
lock  the  lights  in  position,  by  adding  a  bolt  to  the  sup- 
port for  the  lamps,  in  the  same  manner  as  in  the  case  of 
the  camera  support. 

Many  of  the  inquiries  regarding  the  original  presen- 
tation of  the  titler  in  The  clinic      [Continued  on  page  80] 


I             I 

A          p. 

i   ^ 

c; 
%-r 

X; 

* 

•i/     / 

I3T 

1 

Fig.  3.   How  to  find  height  of  camera  support 


63 


PRACTICAL  FILMS 


GORDON      L.     HOUGH 
New  Machine  Shop   Films 

Designed  and  issued  by  Film  Productions  Company,  of  Minneapolis, 
is  the  Machine  Shop  Practice  Series,  a  set  of  twelve  16mm.  sound  films  in 
black  and  white,  covering  eight  common  processes  in  machine  shops.  This 
program  has  two  general  aims — first,  to  provide  the  operator  with  a  sound 
knowledge  of  the  fundamentals  of  machine  shop  work  and,  second,  to 
teach  a  man  how  to  apply  this  knowledge  toward  the  solution  of  individual 
problems.  An  abundance  of  closeups,  together  with  photomicrographs  and 
animation,  helps  to  make  clear  each  operation.  Titles  in  the  series  are: 
Metal  Cutting  Principles,  Precision  Layout  and  Measuring,  Jigs  and  Fix- 
tures, Dies  and  Die  Making,  Lathe  Operation,  Planer  and  Shaper  Opera- 
tion, Milling  Machine  Operation  and  Grinding. 

Prints  are  now  in  use  in  such  defense  and  industrial  training  centers 
as  General  Motors  Corporation,  Henry  Ford  Trade  School,  Chrysler  Cor- 
poration, Westinghouse  Electric  Company,  Western  Electric  Company  and 
International  Nickel  Company.  Roy  A.  Clapp,  president  of  Film  Produc- 
tions, directed  the  series,  Ralph  Perry  was  the  cameraman  and  Allen 
Briggs  was  the  sound  man. 

History  of  Ohio 

Chester  G.  Heffner,  ACL,  of  Mansfield,  Ohio,  recently  produced  a  film, 
called  Beautiful  Ohio  in  Its  Making,  as  an  aid  in  teaching  the  geography  and 
history  of  that  State.  Running  1600  feet  of  8mm.  Kodachrome,  the  movie 
had  its  origin  in  a  400  foot  monochrome  production,  made  in  1935.  See- 
ing the  possibilities  in  a  film  of  this  sort,  Mr.  Heffner  did  a  great  deal  of 
research  and  traveled  more  than  15,000  miles  to  complete  the  present 
version.  The  first  reel  takes  up  Ohio  from  its  beginning  to  the  Northwest 
Ordinance  of  1787;  the  second  covers  the  period  up  to  Ohio's  admission 
as  a  State  in  1803:  reel  three  tells  of  the  Civil  War;  and  the  last  section 
brings  it  up  to  date.  In  addition  to  showing  the  film  in  schools,  as  an 
adjunct  to  the  history  books,  Mr.  Heffner  plans  to  exhibit  it  to  local  clubs 
and  civic  organizations. 

Audio  Visual  Conference 

Atlanta,  Ga.,  played  host  November  13  to  15  to  the  fifth  annual  Southern 
Conference  on  Audio  Visual  Education,  under  the  chairmanship  of 
J.  C.  Wardlaw.  Five  sessions  of  the  three  day  period  were  devoted  to  show- 
ings of  new  educational  films  and  to  speeches,  while  one  session  was  given 
over  to  eight  specialized  group  forums.  In  addition,  various  types  of  audio 
visual  equipment  and  publications  in  this  field  were  on  display  for  the 
delegates. 

General  Extension  of  U.  of  N.  H. 

Continuing  with  the  expansion  begun  two  years  ago,  the  General 
Extension  Service  of  the  University  of  New  Hampshire  is  renovating  one 
of  the  older  buildings  on  the  campus,  to  provide  space  for  the  college's 
photo  visual  service.  The  new  quarters  will  include  a  motion  picture 
library,  twelve  darkrooms,  a  lecture  room  and  a  combined  studio  and 
projection  room. 

Beaver  Life  Filmed 

Earl  L.  Hilfiker,  a  teacher  of  Monticello,  N.  Y.,  has  made  a  1600  foot 
color  and  black  and  white  movie  of  wild  life  around  a  beaver  pond.  Titled 
Life  at  the  Beaver  Pond,  the  film  covers  the  four  seasons  and  contains 
excellent  closeups  of  plants  and  animals  that  are       [Continued  on  page  82] 


Film  Productions  Company 

•  Production  "stills"  and  animation  scenes  fror 
"Machine  Shop  Practice  Series,"  set  of  twelve  16mm 
sound   films. 


The  non  theatrical  movie  as 
used  for  various  purposes 


Cj 'uigluje  cme  cmiM)x^Utkm6, 


CHARLES    COOK 


"T" 
i 

I 

i 

4- 


I 


•  If  you  divide  the  camera  field  in  half, 
you  will  produce  two  rectangles  which 
divide  the  interest  of  the  observer. 
Never  permit  the  horizon  line  to  bisect 
the  picture;  tilt  your  camera  slightly 
upward  or  downward. 


•  A  rule  of  thumb,  helpful  in  shooting 
scenic  views,  is  "the  division  of  thirds." 
Briefly  put,  if  you  establish  the  center 
of  interest  at  one  of  the  intersections 
of  the  imaginary  lines,  you  are  likely 
to  get  good  compositions. 


•  The  triangular  arrangement  of 
masses  or  lines  in  a  scene  always  pro- 
duces good  composition.  Often,  a  side 
view  of  the  principal  subject  will  give 
you  a  triangular  arrangement,  while  a 
head   on   view  would    not. 


•  When  it  is  practical,  select  fore- 
grounds or  backgrounds  that  match  the 
form  of  the  central  subject.  Here,  the 
girl's  head  and  hair  make  a  vertical 
rectangular  form,  as  do  the  curtains 
behind   her. 


•  If  you  desire  to  show  speed,  center 
your  moving  subject  within  the  finder 
and  follow  it.  The  blur  of  the  back- 
ground helps  to  create  the  illusion  of 
rapid  motion  and  emphasizes  the  im- 
portance of  the  subject. 


•  If  the  principal  lines  in  a  scene 
seem  to  run  out  of  the  frame,  look 
around  for  a  slightly  different  view- 
point which  will  include  an  object  that 
will  hold  the  eye — in  this  case,  the  tree. 
The  tree  makes  this  scene  interesting. 


*^J  JiJL 


•  When  it  is  practical,  counteract  the 
main  motion  (in  this  case,  the  train) 
with  an  opposite  movement  (in  this 
case,  the  automobile).  This  procedure 
gives  the  scene  a  feeling  of  balance  and 
an    illusion   of  a  third   dimension. 


•  If  you  can  include  a  number  of  plain 
surfaces  at  different  distances  from 
the  camera,  you  can  increase  the  illu- 
sion of  depth  in  the  scene.  This  effect 
can  be  gained  in  interior  scenes  with 
the  help  of  screens  and  doorways. 


•  If  the  setting  dwarfs  the  characters 
in  the  scene,  they  may  move  freely 
without  disturbing  the  principal  com- 
position. For  that  reason,  it  is  easier 
to  get  good  action  compositions  out- 
doors than   in  the  case  of  interiors. 


64 


•  No  matter  how  charming  a  distant 
view  may  be,  it  requires  a  foreground, 
to  appear  its  best  on  the  screen.  In  this 
scene,  the  people  and  the  rocks  in  the 
foreground  provide  a  pleasant  compo- 
sition  in   themselves. 


•  Strong,  massive  vertical  forms  cre- 
ate a  mood  of  dignity  and  awesome- 
ness.  This  is  a  principle  that  the  movie 
maker  can  employ  only  when  the  sub- 
ject makes  it  possible.  Monuments  and 
buildings  provide  such  forms. 


•  Circular  forms,  such  as  those  pro- 
vided by  balloons,  hoops,  chubby  peo- 
ple and  the  like,  usually  help  to  express 
gaiety  and  cheerfulness.  In  a  circus 
shot,  include  balloons  in  the  fore- 
ground. 


65 


AMATEUR 
CLUBS 


What  organized  groups 
are  doing  everywhere 


A.    K.   Bowen.   ACL 


•   Top,  oldtime  photography  skit  at  annual  salon  of  Bell  Movie  and  Camera 
Club   of   Denver.   Below,    members   and    guests   at   the    party. 


Hartford  sees  Maxim  Award    Following  the  pleasant 

tradition  that  was  es- 
tablished in  1937,  the  first  year  of  the  Hiram  Percy  Maxim 
Memorial  Award,  Hail,  British  Columbia!,  award  winner  in 
1941,  had  its  first  public  screening  before  members  and 
guests  of  the  Hartford  Cinema  Club,  in  Connecticut,  at  their 
late  December  meeting.  Leo  J.  Heffernan,  ACL,  the  pro- 
ducer, and  Mrs.  Heffernan  were  guests  of  the  club  at  dinner, 
preceding  the  screening  at  the  Hartford  Country  Club. 
Rounding  out  the  program  were  A  Christmas  Fantasy  and 
Ether  Bound  Spirit,  short  dramatic  films  in  Kodachrome  by 
Mr.  Heffernan.  The  Hartford  Cinema  Club  was  founded  by 
Mr.  Maxim  in  1926  coincidentally  with  the  Amateur  Cinema 
League,  and  it  now  lists  as  a  member  Percy  Maxim  Lee, 
ACL.  daughter  of  the  Founder  and  donor  of  the  Maxim 
Award. 

AllentOWn  awards  More  than  200  members  and 
guests  gathered  recently  in  the 
local  Y.M.C.A.  for  the  Third  Annual  Guest  Night  of  the 
Allentown  Y.M.C.A.  Cinema  Club,  ACL,  in  Pennsylvania. 
Featured  on  the  program  was  a  screening  of  the  club's  an- 

•  Arthur  W.  Heydt,  of  the  Allentown  Y.M.C.A.  Cinema  Club, 
ACL,  receives  the  Charles  C.  Vogt  Trophy  for  his  8mm.  film, 
"A   Christmas   Eve   Dream." 


Lloyd  Werley 


JAMES     W.     MOORE,     ACL 

nual  contest  winning  films,  with  the  Charles  C.  Vogt  Trophy 
for  the  best  film  in  both  classes  going  to  Arthur  W.  Heydt 
for  his  8mm.  production,  A  Christmas  Eve  Dream.  Other 
award  winning  films  were  Amateur  Professional,  by  Tilgh- 
man  Weil;  Two  Years  Old,  by  Paul  Keck;  Moods  of  Nature, 
by  Louis  Buehler,  jr.;  Week  End  Tour,  by  Nelson  Meitzler; 
May  Day,  by  0.  C.  Dorney.  Charles  Gerhart  was  chairman  of 
a  seven  man  board  of  judges,  and  he  announced  the  award 
winning  films. 

At  Schenectady  Through  the  cooperation  of  Harry  M. 
Jacobs  and  J.  S.  Smith,  members  of 
the  Movie  Group  of  the  Schenectady  (N.  Y.)  Photographic 
Society,  ACL,  and  C.  C.  Bailey,  of  the  General  Electric  Com- 
pany, this  unit  had  an  early  screening  of  Railroadin,  the 
elaborate  sound  on  film  color  picture  recently  released  by 
G.  E.  and  the  American  Locomotive  Company.  Adkins 
Lowell,  also  of  General  Electric,  presided  at  the  meeting 
and  introduced  to  the  club  members  John  J.  Boland,  director 
of  the  picture  for  Adverti  Films.  For  Safety's  Sake,  the  club's 
production  for  the  Schenectady  Police  Department,  is  near- 
ing  completion  under  the  leadership  of  Cecil  M.  Figueroa, 
ACL,  and  E.  H.  MacMullen,  ACL. 

New  in  Springfield  Fifteen  members  signed  the  char- 
ter roll  of  the  Pioneer  Valley 
Cinema  Club,  ACL.  recently  organized  in  Springfield,  Mass. 
First  officers  are  Walter  J.  Aring,  ACL,  president;  C.  J.  Grant, 
vicepresident;  Walter  L.  Stannard,  secretary  and  treasurer. 
Morton  H.  Read.  ACL,  producer  of  Holiday  in  Dixie  and 
Where  the  Americas  Meet,  Ten  Best  and  Honorable  Men- 
tion award  winners,  respectively,  screened  some  of  his  work 
at  an  early  meeting. 

Sound  in  Philadelphia     Two  sound  on  film  pictures 

were  featured  at  a  late  meet- 
ing of  the  Philadelphia  Cinema  Club,  gathered  in  the 
Adelphi  Hotel.  They  were  Paradise,  by  Robert  Henderson, 
ACL,  a  record  of  nationally  famous  bands  and  their  drum 
majorettes,  and  an  experimental  demonstration  film  by  Leon 
Bardfeld.  On  the  program  also  were  Yellowstone  National 
Park  and  Glacier  Park,  8mm.  films  by  Francis  M.  Hirst,  ACL. 

San    FrancisCO  elects      Meeting  in  the  quarters  of  the 

Women's    City    Club,    members 
of  the  Cinema  Club  of  San  Fran-       [Continued  on  page  81 J 


SUGGESTED  EXPOSURES  FOR  NIGHTTIME  SPORTS  AND  SHOWS* 


Subject 

Boxing,  wrestling,  spot- 
lighted stage  performers, 
night-club  entertainers, 
ice  carnivals,  figure  skaters 

Swimming  and  diving 
exhibitions,  basketball 
games,  bowling,  bicycle 


Film 

Type  A  Kodachrome 
8  mm.  Cine-Kodak  Super-X 
16  mm.  Cine-Kodak  Super-X 
16  mm.  Cine-Kodak  Super-XX 

Type  A  Kodachrome 
8  mm.  Cine-Kodak  Super-X 
16  mm.  Cine-Kodak  Super-X 
16  mm.  Cine-Kodak  Super-XX 


Aperture 

//1.6-//1.9 
//1.9-//2.5-//2.7 
Z/2.7-//3.5 
//4-//4.5-//S.6 

//1.6 
//1.6-f/1.9 

//1.9 
Z/2.7-//3.5 


*This  exposure  information  is  based  upon  many  successful  tests  but,  for  obvious  variables,  can  not  be  guaranteed  to 
produce  uniformly  satisfactory  results. 
"With  brightest  lighting  on  these  subjects,  only. 


IT  TAKES 


SPEED 


...AND 


BALANCE,  too 


JPEED  AND  BALANCE— that's  what  you  need  in  a 
movie  film  to  get  the  difficult  and  fast-moving  indoor  action 
shots  of  wintertime. 

Speed — for  maximum  "seeing  power"  under  indoor 
lighting  without  loss  of  detail. 

Balance — for  correct  contrast  and  latitude. 

These  you'll  always  find  in  proper  combination  in  Cine- 
Kodak  Films.  And  these  are  the  qualities  which  are  particu- 
larly important  at  this  time  of  the  year  if  you  are  to  get  the  full 
movie  story  of  colorful  and  fast-moving  indoor  activities. 

If  you  have  an  f/1.9  camera,  or  if  your  camera  takes  ac- 
cessory lenses  of  comparable  or  greater  speed,  Type  A  Koda- 
chrome  is  your  film.  Skaters  and  dancers,  boxers  and  wres- 
tlers, riders  and  ropers — every  performer  in  a  spotlight  is 
within  easy  reach  of  a  fast-lens  camera  loaded  with  this  night- 
time color  film. 

But  if  your  camera's  lens  is  a  little  slower  (or  if  your 
f/1.9  lens  has  to  see  under  lighting  dimmer  than  spotlights) 
Cine-Kodak  Super-X  or  Super-XX  is  the  film  to  use  for  black- 
and-white  movies. 

The  table  at  the  left  tells  the  exposure  story.  Check  the 
subjects  it  includes  against  your  local  activities  calendar  .  .  . 
load  up  with  a  roll  or  magazine  of  the  proper  Cine-Kodak  Film 
.  .  .  and  treat  yourself  and  friends  to  some  of  the  finest  and 
most  thrilling  movie  material  on  the  cinematic  menu. 

EASTMAN  KODAK  COMPANY 

ROCHESTER,  N.  Y. 


Qs 


\. 


*r 


/O 


'** 


X.  ^    X.Q 


v 


*t  *e  % 


%L% 


^ 


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>>  <s 


So, 


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■■?% 


%; 


V 


PRICES 

Kodachrome,  regular  or  "Type 
A":  8-mm.  rolls,  $3.65;  8-mm. 
magazines,  $4.00;  16-mm.  100- 
foot  rolls,  $8.55;  16-mm.  mag- 
azines, $5.00.  Cine-Kodak  Su- 
per-X "Pan":  8-mm.  rolls,  $2.40; 
8-mm.  magazines,  $2.70;  16- 
mm.  100-foot  rolls,  $6.40;  16- 
mm.  magazines,  $3.75.  Cine- 
Kodak  Super-XX  "Pan":  16-mm. 
100-foot  rolls,  $7.20;  16-mm. 
magazines,  $4.30. 

All  prices  include  processing. 


Vke  Clinic 


68 


Technical  comment  and  timely  topics  for  the  amateur 


KENNETH     F.     SPACE,     ACL 


Title  printing  stunt    We  are  al- 

ways  glad  to 
hear  from  movie  makers  in  distant  lands, 
and,  when  we  receive  an  item  for  The 
Clinic  at  the  same  time,  such  letters  are 
doubly  welcome. 

H.  J.  Hill,  of  West  Australia,  writes, 
"Knowing  the  difficulties  experienced  in 
producing  titles  that  are  different,  I  am 
enclosing  the  results  and  the  details  of 
a  new  method  by  which  white  letters 
may  be  produced  on  a  black  back- 
ground. This  effect  is  needed  especially 
when  double  exposures  are  contemplat- 
ed. I  discovered  the  system  when  I  was 
experimenting  with  a  printing  press,  in 
setting  up  titles,  and  I  have  given  the 
method  the  name  'Photo  Type.' 

"I  print  the  title  directly  on  photo- 
graphic paper.  This  procedure  can  be 
done  under  darkroom  lighting  condi- 
tions. The  photographic  paper  title  card 
is  then  exposed  to  a  sixty  watt  lamp  for 
from  one  half  to  one  second,  the  lamp 
being  placed  at  a  distance  of  two  feet 
from  the  card.  The  paper  is  then  devel- 
oped in  a  quick  developer  and  is  next 
washed  and  placed  in  a  slightly  acid 
hypo  bath.  After  a  few  minutes,  while 


mtb 


Jftgititgijls  of  ^algoorlte 


Wat  doloett  Jltfe. 


'Photo    Type"    title    by    H.    J.    Hi 


the  paper  is  still  in  the  solution,  the 
printer's  ink  may  be  sponged  off  with  a 
piece  of  cotton,  which  leaves  sharp 
white  letters  on  a  black  background. 

"To  test  the  effectiveness  of  the  hypo 
in  removing  ink,  I  printed  a  card  and 
allowed  the  ink  to  dry  for  two  hours. 
The  card  was  then  put  directly  into  the 
hypo  bath,  where  I  found  that  I  could 
remove  the  ink  completely.  The  secret  of 
success  with  this  method  lies  in  print- 
ing with  good  sharp  letters  and  in  using 
a  heavy  ink,  so  that  light  cannot  pene- 
trate it  when  the  card  is  exposed  to  the 
sixty  watt  bulb." 

The  illustrations  below  show  the  let- 
tering— first  as  it  appears  when  it  is 
printed  on  the  card  and  then  as  it  ap- 
pears when  the  paper  is  developed  and 
the  ink  is  removed. 

ACL  leaders    while  most  Lea§ue 

members  find  the  of- 
ficial League  leader,  with  its  animation 
and  trick  optical  effects,  completely  sat- 
isfactory, some  filmers  enjoy  making 
their  own.  They  can  include  their  own 
names  to  identify  their  films  as  having 
been  made  by  themselves  as  members 
of  the  Amateur  Cinema  League.  Several 
movie  makers  have  written  to  us,  asking 
if  the  League  has  any  objection  to  this 
procedure.  We  are  happy  to  say  that 
there  are  no  restrictions  other  than  that 
the  filmer  must  be  a  League  member  at 
the  time  that  he  makes  the  leader  and 
that  the  wording  should  follow  the  offi- 
cial pattern.  In  other  words,  you  might 
use  "Member  Amateur  Cinema  League." 
"A  Member  of  the  Amateur  Cinema 
League"  or  "This  Film  Produced  by  a 
Member  of  the  Amateur  Cinema  League" 
or  some  similar  phrasing.  We  have  seen 
some  very  attractive  League  titles  and 
show  above  the  one  that  is  used  by  Dud- 
ley E.  Porter,  ACL. 


OBJECT  IN  FOREGROUND 
Good  composition  is  not  a  complex 
problem,  and  one  of  the  easiest  things 
to  remember  is  to  include  some  ob- 
ject in  the  foreground  of  a  scenic  shot. 
A  foreground  object  gives  the  effect 
of  a  frame  and  produces  that  "third 
dimensional"  appearance. 


Dudley  E.   Porter,  ACL 

Card    for    a     personal    ACL    leader 

Be  prepared  Events  that  we  want 
to  film  often  occur  at 
times  when  our  cameras  are  almost 
empty  and  when  we  do  not  have  any 
more  film  on  hand.  Sometimes  you  find 
yourself  out  of  film  in  the  evening  when 
the  stores  are  closed;  thus,  opportuni- 
ties to  preserve  the  unexpected  visits  of 
friends  or  impromptu  parties  are  lost 
forever.  Since  we  are  usually  sure  to 
need  an  extra  roll  of  film  within  a  month 
or  so  from  any  given  day  and  since  the 
manufacturers'  guarantee  allows  us  a 
year,  after  the  date  of  the  film,  in  which 
to  expose  it,  there  would  seem  to  be  no 
reason  why  we  might  not  purchase  two 
or  more  rolls  of  film  at  a  time  and  keep 
a  reserve  on  hand.  In  the  long  run, 
there  is  no  extra  expense  and,  with  the 
film  on  hand,  we  can  be  prepared  for 
the  unexpected. 

Flood  bulbs  and  daylight     One  of 

the  val- 
ues of  a  fast  lens  is  that  it  provides  a 
means  of  filming  indoor  scenes  by  the 
illumination  of  daylight  from  windows. 
In  most  cases,  the  camera  should  be 
placed  near  the  windows  and  the  day- 
light should  fall  fully  upon  the  subject. 
If  the  camera  is  pointed  toward  the  win- 
dows and  if  the  out  of  doors,  as  seen 
through  the  windows,  is  included  in  the 
picture,  these  portions  of  the  scene  usu- 


ally  will  be  very  much  overexposed. 
Such  a  result  is  shown  in  the  top  pic- 
ture at  the  right.  Note  that,  in  addition 
to  the  glare  and  lack  of  detail  in  the 
view  out  of  doors,  there  is  not  really 
enough  light  in  the  corner  of  the  room 
to  record  properly  the  objects  there.  The 
solution  is  to  use  the  illumination  of 
flood  lamps  in  addition  to  the  daylight. 
Then  there  will  be  less  contrast  between 
the  light  outside  and  that  inside  and 
also  you  can  properly  balance  the  light- 
ing of  the  indoor  scene.  To  make  the 
lower  picture  shown  here,  a  No.  2  flood 
bulb  was  directed,  in  a  reflector,  toward 
the  corner  of  the  room,  and,  since  the 
daylight  was  rather  dull  outside,  the 
outdoor  exposure  was  very  nearly  that 
of  the  interior.  When  you  film  a  scene 
in  color,  that  is  lighted  both  by  artificial 
illumination  and  by  sunlight,  use  the 
special  daylight  flood  bulbs  and  regular 
outdoor  color  film. 


TELEPHOTO 
The  exposure  for  a  given  scene  is 
the  same  whether  one  is  using  a  tele- 
photo  or  a  regular  lens,  but  you  must 
set  the  focus  of  a  telephoto  more  ac- 
curately than  that  of  the  regular  lens. 
There  is  no  way  of  making  a  tele- 
photo  fixed  focus.  If  you  find  that  you 
cannot  estimate  distance  accurately, 
the  best  solution  is  to  purchase  a 
range  finder. 


Larger  areas  While  a  wide  angle 
lens  furnishes  the 
ideal  way  of  obtaining  scenes  of  a 
larger  area  in  restricted  quarters  than 
could  be  filmed  with  the  regular  lens, 
a  bit  of  study  of  the  filming  locale  may 
result  in  a  more  efficient  use  of  the  ordi- 
nary lens  under  these  conditions.  Often, 
the  movie  maker  will  move  back  to  the 
wall  of  a  room,  in  an  effort  to  get  the 
largest  possible  view;  yet  he  may  still 
discover  that  he  is  nearer  the  subject 
than  he  wants  to  be.  He  may  be  able  to 
solve  the  problem  by  moving  out  into  a 
hall  or  into  an  adjacent  room,  but  not 
so  far  that  the  edges  of  the  doorway 
would  appear  within  the  scene  area.  By 
ingeniously  selecting  camera  positions 
in  halls  and  doorways,  one  can  give  to 
a  small  apartment  the  aspect  of  spa- 
ciousness. 

Reflector  When  you  want  a  reflector 
as  an  aid  in  lighting  a 
scene,  indoors  or  out,  it  may  occur  to 
you  to  use  a  beaded  projection  screen  for 
the  purpose.  Indeed,  the  gleaming  white 
expanse  of  one's  projection  screen 
would  seem  to  be  ideal  for  this  use. 
However,  if  we  are  to  use  the  beaded 
screen  efficiently  as  a  reflector,  we  must 
remember  that  this  screen  does  not 
reflect  light  in  the  same  way  as  does  a 
white  or  polished  plane  surface.  In  the 
case  of  a  beaded  screen,  light  is  reflected 
back  toivard  its  source,  no  matter  at 
what  angle  it  strikes  the  screen.  Thus, 
with    an    ordinary    reflector,    we    could 


Use  extra  liqht  for  an  interior 
scene    that    includes    open    windows 

catch  light  which  might  come  from  an 
upward  angle  and  reflect  it  horizontally 
or  to  one  side;  but,  if  we  use  a  beaded 
surface  under  the  same  circumstances, 
most  of  the  reflected  light  is  directed 
upward  again,  toward  the  source. 

Considering  this  fact,  it  is  obvious  that 
a  beaded  screen  serves  as  a  reflector  most 
efficiently  in  illuminating  the  shadow 
side  of  back  lighted  subjects  and  under 
similar  circumstances  where  reflected 
light  will  be  effective  when  its  rays  are 
parallel  to  those  of  the  original  source. 
The  illustration  below  shows  a  beaded 
screen  properly  placed,  to  reflect  light 
from  an  interior  lighting  unit.  In  such 
setups,  one  must  exercise  care,  that 
none  of  the  direct  rays  from  the  light 
shine  into  the  camera  lens. 


Snow  scenes  polarized    Dont  tor- 

g  e  t  the 
decided  improvement  that  a  polarizing 
filter  will  make  on  those  sunlit  snow 
scenes  that  are  so  full  of  sparkle  and 
dazzle  to  the  eyes.  In  fact,  the  dazzle 
may  be  just  plain  glare,  as  far  as  the 
film  is  concerned,  and  we  want  to  avoid 
that  situation.  The  value  of  a  polarizer 
in  improving  any  scene  can  easily  be 
ascertained,  simply  by  looking  through 
the  filter  at  the  subject  in  question.  If  a 
decided  visual  effect  is  seen  when  one 
revolves  the  filter  slowly,  the  same  re- 
sult may  be  expected  on  the  film,  if  the 
exact  angle  at  which  the  filter  is  held  is 
maintained  before  the  lens.  Such  a  filter 
is  especially  valuable  as  an  aid  to  color 
filming  under  these  circumstances,  as  it 
may  help,  not  only  in  eliminating  glare, 
but  also  in  providing  effective  contrast 
between  white  snow  and  blue  sky. 

Camera  spring    If    there    is    any 

good  reason  (and 
we  do  not  like  to  admit  that  there  is 
any)  for  you  to  put  your  camera  away 
for  a  few  months,  remember  to  let  the 
motor  spring  run  down  all  the  way. 
This  precaution  will  preserve  the  life  of 
the  spring  and  will  prevent  the  discon- 
certing thumps  and  jars  that  are  often 
encountered  when  a  camera  is  used  after 
a  long  rest  during  which  the  spring  has 
been  wound.  These  exaggerated  vibra- 
tions do  no  harm,  but  they  are  a  sign 
that  the  oil  or  lubricant  has  been 
squeezed  from  the  spring  coils. 


FUSES 
After  you  have  arranged  lighting 
equipment,  camera  and  subject  all  in 
position,  nothing  is  more  disconcert- 
ing than  to  turn  on  the  flood  lights 
and  immediately  to  plunge  the  entire 
house  in  darkness  because  the  fuses 
blow  out.  To  add  to  your  distress,  you 
may  find  that  there  are  no  spare  fuses 
and  that  the  electric  stores  are  closed 
for  the  night.  So  always  make  sure 
that  you  do  not  put  more  lights  in 
one  circuit  than  the  fuses  will  tolerate 
and  remember  that  a  few  extra  fuses 
are  a  very  good  investment. 


Arrangement  for  using   a   beaded   screen   as  a    reflector 


69 


70 


NEWS  OF 
THE  INDUSTRY 


Answers  the  query 
"What's  new?"  for 
filmer  and  dealer 


•  Kodak  Ektra  with  focusing  back  mounted 
on  enlarger  for  copying.  Bracket  shown 
can    also    be    used    to    hold    movie    cameras. 


Hal   Roach   in    16mm.      Feature   length   films    produced 

by  Hal  Roach  have  been  the- 
atrical box  office  attractions  wherever  they  have  been  shown, 
and  selected  Hal  Roach  pictures  are  now  available  in  16mm. 
sound. 

Post  Pictures  Corporation,  723  Seventh  Avenue,  New  York 
City,  has  acquired  world  wide  distribution  rights  to  available 
Hal  Roach  subjects,  and  four  of  these  will  be  released  dur- 
ing the  current  season.  These  four,  all  recent  hits,  comprise 
There  Goes  My  Heart,  with  Fredric  March  and  Virginia 
Bruce;  Topper  Takes  a  Trip,  with  Roland  Young  and  Con- 
stance Bennett;  Zenobia  (An  Elephant  Never  Forgets),  with 
Oliver  Hardy,  Harry  Langdon  and  Billie  Burke;  Captain 
Fury,  with  Brian  Aherne  and  Victor  McLaglen.  These  sub- 
jects will  be  released  successively  from  January  1  to  June  1, 
1942. 

Photo  Almanac  The  new-  1942  edition  of  the  well 
known  annual,  Universal  Photo  Alma- 
nac, is  now  available.  Edited  by  Louis  H.  Lanctot,  A.R.P.S., 
it  contains  many  articles  on  diversified  branches  of  photog- 
raphy, pictorial  reproductions,  formulary  and  other  features. 
It  is  published  by  Falk  Publishing  Company,  10  West  33rd 
Street,  New  York  City,  at  a  price  of  $1.00. 


Hartley  School 


The  completion  of  a  successful  first  sea- 
son of  instruction  in  substandard  movie 
making  has  led  the  Hartley  School  of  Film  Making  to  an- 
nounce four  new  courses  about  various  phases  of  production. 
These   include    an    Amateur   Course,   an   Advanced   Filming 


•    Moderately    priced    spotlight    offered    by 
Display    Stage    Lighting    Company. 


RUSSELL     C.     HOLSLAG,     ACL 

Course,  a  Sound  Recording  Course  and  a  General  Course. 
They  may  be  taken  singly  or  in  combination.  In  addition, 
there  is  announced  a  Cooperative  Film  Workshop,  which  will 
provide  criticism  for  film  projects  undertaken  by  students. 
Subjects  made  under  workshop  guidance  will  be  post  record- 
ed as  part  of  the  project.  Details  may  be  had  from  Hartley 
School  of  Film  Making.  20  West  47th  Street.  New  York  City. 

New    Polarizing    Filters       The    John-Baylee    Company, 

32  Union  Square,  New  York 
City,  now  offers  efficient  polarizing  filters  mounted  in  optical 
glass.  This  new  polarizing  material  has  been  found  effective 
on  test,  and  it  should  provide  additional  encouragement  for 
all  movie  makers  to  employ  this  valuable  aid  to  better  pic- 
tures. The  filters  come  in  all  sizes  to  fit  movie  or  still  cam- 
eras, and  there  is  offered  a  special  Cine  Color  Kit,  which 
contains  a  neutral  density  polarizing  filter,  a  Type  A  filter 
for  making  outdoor  pictures  with  indoor  color  film  and  a 
haze  filter,  to  absorb  ultra  violet  rays  which  sometimes  give 
blue  overtones  to  color.  The  kit  is  contained  in  a  leather  case, 
with  an  all  metal  sunshade  and  filter  holder.  A  free  booklet, 
Photography  Through  Polarization,  has  been  prepared  and 
will  be  sent  by  John-Baylee  Company  on  request. 

Mini   lenses  for  movies      Through  the  use  of  new  Cine 

Adapters,  owners  of  Leica 
lenses  for  miniature  cameras  may  now  make  use  of  these 
objectives  on  their  movie  cameras.  Two  types  of  adapters  are 
available.  One  permits  the  use  of  Leica  lenses  with  16mm. 
cameras  having  a  type  C  lens  mount.  The  other  is  made  espe- 
cially for  use  with  16mm.  and  8mm.  Magazine  Cine-Kodak 
cameras.  Further  information  can      [Continued  on  page  85] 


•    A    premiere    of    a    U.    S.    Department    of    Education    Film,    for    which 
Bell   &   Howell   projector  was   used. 


a 


re  cameras 


THE  United  States  is  at  war. 
Because  we  are  at  war,  there  is  no  reason  why  we 
should  suddenly  begin  to  cultivate  hysteria.  Indeed,  we 
should  use  better  than  ordinary  judgment  in  our  conduct. 

The  action  of  the  officials  of  the  city  of  New  Britain, 
Conn.,  as  it  is  revealed  in  the  correspondence  between  the 
mayor  of  that  city  and  the  Amateur  Cinema  League,  goes 
so  far  beyond  the  expressed  desires  of  the  United  States 
government  in  the  matter  of  using  cameras  that  it  raises 
a  serious  question  in  the  minds  of  a  number  of  persons 
as  to  the  chaos  that  can  result  in  this  country  if  censor- 
ship regulations  are  given  local  interpretation  without 
national  coordination. 

Unity  of  action  is  essential  at  this  time.  The  only  unity 
of  thought  that  is  imperative  is  a  common  will  to  defeat 
the  enemies  of  the  United  States.  In  the  traditional  Ameri- 
can fashion,  there  will  be  and  should  be  criticism  of  the 
methods  used  to  bring  about  that  defeat.  But  action  must 
be  cohesive  and  coordinated. 

Whatever  rules  are  established  in  one  American  com- 
munity concerning  the  use  of  cameras  should  be  no  more 
restrictive  and  no  less  restrictive  than  those  that  are  set 
up  in  other  communities.  There  is  no  room  for  "offside 
plays"  in  this  war.  Each  of  us,  in  his  actions,  must  gear 
into  whatever  the  national  plan  may  be  in  the  field  of 
those  actions. 

The  Amateur  Cinema  League  publishes  the  following 
correspondence  in  order  to  warn  the  sane,  patriotic  and 
practical  men  and  women  who  own  and  use  movie  and 
still  cameras  in  this  country  to  see  to  it  that,  in  their 
communities,  officials  do  not  develop  local  autocracies 
that  follow  rules  of  their  own.  National  action  must  be 
unified. 

December  22,  1941 
The  Honorable  Mayor 
New  Britain,  Conn. 
Dear  Sir: 

It  has  been  reported  to  us  that  the  Police  Department 
of  your  city  has  issued  an  order  prohibiting  the  use  of 
cameras,  either  motion  picture  or  still,  in  the  city  of  New 
Britain,  unless  the  cameras  are  operated  within  the  vards 
or  buildings  of  their  owners. 

In  view  of  the  fact  that  the  Amateur  Cinema  League 
represents  the  organized  personal  movie  makers  of  the 
United  States,  and  in  view  of  the  further  fact  that  mem- 
bers of  our  organization  and  subscribers  to  our  maga- 
zine are  citizens  of  New  Britain,  I  should  appreciate  the 
courtesy  of  your  informing  me  if  such  an  order  has  been 
issued,  and,  if  so.  what  are  its  exact  terms. 

With  my  thanks  in  advance  for  your  courtesy,  I  am. 

Sincerely, 
Roy  W.  Winton 
Managing  Director 

December  26.  1941 
Mr.  Roy  W.  Winton 
Amateur  Cinema  League,  Inc. 
420  Lexington  Avenue 
New  York,  N.  Y. 
Dear  Sir: 

This  is  to  acknowledge  receipt  of  your  letter  of  the 
22nd  concerning  the  rule  prohibiting  picture  taking  in 


di 


angerous 


? 


71 


Should  each  city  limit 
filming  by  local  rules7 


the  City  of  New  Britain. 

Chief  William  C.  Hart  of  our  Police  Department  has 
issued  an  order,  with  my  approval,  prohibiting  the  tak- 
ing of  pictures  within  the  confines  of  New  Britain  only 
on  the  property  of  the  individual  taking  the  picture. 
Cameras  will  not  be  tolerated  near  this  city's  numerous 
defense  plants  or  other  strategic  places. 

However,  this  ruling  does  not  mean  that  the  camera 
enthusiasts  will  be  barred  from  shooting  pictures  of  other 
points  of  interest  locally.  They  can  receive  the  necessary 
permit  from  Chief  Hart  and  take  pictures  other  places 
than  their  own  property.  I  am  sure  that  you  will  agree 
with  me  that  this  ruling  is  not  too  severe  in  view  of  the 
situation  which  now  faces  the  country  and  in  view  of 
the  fact  that  New  Britain  is  one  of  the  strategic  defense 
cities  of  New  England. 

Yours  very  truly, 
George  J.  Coyle 
Mayor  of  New  Britain 

December  29,   1941 
The  Honorable  George  J.  Coyle 
Mayor  of  New  Britain 
New  Britain,  Connecticut 
Dear  Mr.  Mayor: 

I  appreciate  the  courtesy  of  your  letter  of  December 
26,  in  reply  to  mine  of  December  22  concerning  the 
restrictions  which  you  have  placed  upon  the  operation 
of  cameras  in  New  Britain. 

I  understand  and  share  your. earnest  desire  that  noth- 
ing shall  interrupt  the  orderly  and  speedy  operation  of 
the  many  defense  activities  in  your  city.  However,  I 
should  like  to  present  for  your  consideration  the  view- 
point of  the  many  patriotic  and  serious  minded  Ameri- 
can citizens  to  whom  cinematographv  and  photographv 
are  serviceable  tools,  both  for  practical  and  recreative 
purposes. 

Pictures,  either  still  or  motion,  are  essentially  means  of 
communication.  In  any  restrictions  placed  upon  com- 
munication, by  reason  of  war  conditions,  no  more  severe 
regulations  should  be  imposed  upon  one  method  of  com- 
munication than  upon  another.  As  nearly  as  may  be 
possible,  these  regulations  should  be  uniform  throughout 
the  United  States. 

I  hope  that  you  will  permit  me  to  question  the  wisdom 
and  justice  of  your  regulation  in  New  Britain  regarding 
cameras  for  the  following  reasons: 

1.   It  is  more  stringent  than      [Continued  on  page  80] 


72 


FEBRUARY    1942 


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■  There  Goes  My  Heart,  16mm.  sound 
on  film,  running  time,  eighty  five  min- 
utes, is  a  breezy,  action  filled,  romantic 
picture  released  by  Post  Pictures  Cor- 
poration, 723  Seventh  Avenue,  New  York 
City.  In  it,  we  behold  the  adventures  of 
a  pampered  heiress  who  tires  of  her 
opulent  surroundings  and  yearns  to  lead 
an  unprotected  life  in  contact  with  the 
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Fredric  March  and  Virginia  Bruce. 


179  W.  MADISON   ST.,    CHICAGO,  ILL. 


B  In  Old  Spain,  8mm.  silent  and  16mm. 
silent  and  sound,  one  reel,  is  released 
by  Castle  Films,  Inc.,  30  Rockefeller 
Plaza,  New  York  City.  This  exotic  sub- 
ject reveals  the  beauty  of  ancient  Spain, 
crowned  with  gems  of  Saracen  art,  and 
living  still  in  the  architecture  of  Gra- 
nada and  many  other  places.  Outstand- 
ing customs  are  also  shown. 


•  Swing's  The  Thing,  16mm.  sound  on 
film,  running  time,  twenty  minutes,  is  a 
merry  melange  of  popular  music   and 


dance  which  will  do  much  to  add  live- 
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Roy  and  his  band  and  is  presented  in 
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uted by  Astor  Pictures  Corporation,  130 
West  45th  Street,  New  York  City. 


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time,  features  the  child  singing  star, 
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Latin  America  as  a  background  and 
contains  romance,  adventure  and  tune- 
ful melodies.  Bobby  sings  six  songs,  all 
with  a  Latin  flavor.  The  supporting  cast 
includes  Kent  Taylor,  Maria  Shelton, 
Joyce  Compton  and  Pedro  de  Cordoba. 
The  film  is  distributed  by  Walter  O. 
Gutlohn,  Inc.,  25  West  45th  Street,  New 
York  City. 


'  Alexander  Nevsky,  16mm.  sound  on 
film,  running  time,  ninety  one  minutes, 
is  a  dramatic  story  of  Thirteenth  Cen- 
tury Russia,  showing  the  defeat  of  the 
invading  German  knights  by  the  Rus- 
sians under  Prince  Nevsky.  The  release 
of  this  film  is  especially  timely,  as  its 
theme  parallels  present  day  events.  The 
film  is  directed  by  S.  M.  Eisenstein  and 
has  an  original  musical  score  by  Sergei 
Prokovieff.  Distribution  is  by  Brandon 
Films,  Inc.,  1600  Broadway,  New  York 
City. 


MOVIE    MAKERS 


73 


■  Journey  by  Train,  16mm.  silent  mon- 
ochrome, four  reels  in  length,  is  an  in- 
teresting new  subject  released  by  the 
Filmo  Library  of  the  Bell  &  Howell 
Company,  1801  Larchmont  Avenue,  Chi- 
cago. In  considering  this  film's  impor- 
tance, one  should  remember  that  mil- 
lions of  American  children,  as  well  as 
many  adults,  have  yet  to  take  their  first 
train  ride.  The  film  shows  in  great  de- 
tail how  a  typical  family  packs,  gets 
tickets,  checks  baggage  and  spends  day 
and  night  on  the  rails. 

How  a  club 
plans  war  films 

[Continued  from  page  57] 

each  of  their  departments — properties, 
personnel,  transport  and  publicity.  As 
the  time  draws  near  for  each  period  of 
filming,  it  is  the  responsibility  of  the 
production  supervisor  to  see  that  each 
of  his  staff  members  is  carrying  out  the 
details  of  arrangements  required  of 
him. 

The  Director 

As  the  name  implies,  the  director  is 
primarily  and  largely  concerned  with 
planning  and  directing  the  desired  ac- 
tion of  each  filming  job.  He  will,  of 
course,  work  in  close  cooperation  with 
the  camera  staff  and.  between  them. 
they  will  work  out  their  requirements 
on  properties  and  personnel,  which  are 
then  arranged  for  them  by  the  produc- 
tion supervisor.  Since  it  is  expected 
that  these  defense  and  first  aid  auxiliary 
films  will  be  based  on  officially  ap- 
proved fundamental  scenarios,  there 
will  not  be  the  need  in  such  a  produc- 
tion setup  for  the  customary  script 
clerk.  Such  checks  and  records  of 
scenes  shot  and  scenes  to  come,  as  are 
needed,  can  easily  be  handled  by  the 
director  and  the  camera  staff,  working 
in  collaboration.  They  will  be  assisted 
on  the  set  by  the  property  and  per- 
sonnel staff,  the  latter  of  which  may 
well  be  responsible  for  the  important 
detail  of  handling  the  scene  slate  un- 
der the  cameraman's  direction. 

Cameramen  and  Lights 

The  obvious  duties  of  the  camera  staff 
and  of  the  lighting  technician  are  to 
get  the  pictures  called  for  in  the  scena- 


SPEED    gets   ANIMATION 

THE  speed  of  a  Graflex  gives  you  easy  command  of  all  sorts  of  ac- 
tion— the  finish  of  a  race,  a  youngster's  fleeting  expression,  or  the 
explosion  of  a  snowball.  And  in  those  thin-sliced  seconds  animation 
is  captured  and  held.  / 

Of  course,  Graflex  offers  more  than  speed  (focal  plane  shutter 
speeds  up  to  1/1000).  Direct,  positive  focusing  on  the  hooded  ground 
glass  assures  correct  focus,  aids  composition.  The  standard  Kodak 
Anastigmat  lenses  can  be  replaced  with  special  purpose  accessory 
telephotos.  Ask  your  Kodak  dealer  to  show  you  the  new  Graflexes. 
They  rate  your  inspection. 

Graflex  and  Graphic  cameras  are  made  by  the  Folmer  Graflex  Corp. 

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uniformly,  at  low  cost,  in  G-E  Photofloods. 


GENERAL  ($$  ELECTRIC   /    BETTER 
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74 


FEBRUARY    1942 


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rio.  In  previous  conferences  with  the 
director,  in  advance  of  shooting,  they 
will  have  worked  out  accurately  the  set- 
tings and  actions  required,  so  that  once 
on  the  set  they  can  move  ahead  with 
maximum  speed.  The  first  cameraman, 
when  not  actually  behind  the  view 
finder,  should  be  in  charge  of  all  shoot- 
ing, after  discussing  his  purposes  and 
plans  with  his  filming  assistants  and 
the  lighting  staff.  If  more  than  one 
camera  is  used  in  the  production,  it  is 
desirable  to  check  carefully  in  advance 
to  determine  whether  the  frame  line 
registration  of  the  two  instruments  is 
similar  enough  to  permit  unhampered 
intercutting  of  the  two  "takes." 

The  ideal  lighting  man  should  be  an 
electrical  technician  with  a  sound 
knowledge  of  circuits  and  current  loads 
— and,  in  addition,  skill  in  the  esthetics 
of  photographic  lighting.  But,  of  the 
two,  the  former  seems  to  be  the  more 
important,  since  the  first  cameraman 
will  most  likely  be  well  versed  in  this 
art  himself  and  can  direct  the  actual 
placing  of  the  lighting  units.  On  ex- 
terior sets,  the  lighting  staff  will  be  en- 
gaged in  handling  the  large  reflecting 
boards  which  are  so  essential  to  the 
best  results,  and  in  both  kinds  of  work 
they  should  be  responsible  for  the  care 
and  storage  of  all  lighting  equipment. 

Properties  and  Personnel 

The  majority  of  the  duties  of  these  two 
departments  already  has  been  dis- 
cussed in  reference  to  the  executive 
duties  of  the  supervisor,  production 
supervisor  and  director.  Specifically, 
the  property  man  and  his  assistants 
shall  be  responsible  for  the  secure- 
ment  and  care  of  all  physical  objects 
involved  in  the  production  save  those 
otherwise  assigned.  Such  exceptions 
might  be  the  aforementioned  fire  engine 
and  radio  patrol  car,  physical  objects 
which  are  directly  connected  with  oper- 
ations and  actions  performed  by  per- 
sonnel outside  the  club  membership. 
Even  here,  it  is  wise  that  somebody — 
either  supervisor  or  property  man — 
make  a  last  minute  check  on  outside 
personnel,  to  be  sure  that  they  under- 
stand clearly  what  services  and  equip- 
ment will  be  expected  of  them.  The 
property  department  should  be  respon- 
sible, as  well,  for  securing  and  dressing 
such  locations  or  settings  as  are  direct- 
ly under  the  club's  control — a  dining 
room  set,  a  garage  location  and  the 
like. 

In  the  hands  of  the  personnel  clerk 
and  his  assistants  are  the  responsibili- 
ties for  securing,  as  needed,  such  actors 
and  straight  part  players  as  are  called 
for  by  the  director  through  the  produc- 
tion supervisor.  Execution  of  these 
duties  should  include  a  system  of  send- 
ing notices  to  those  needed.  Notices 
should  give  the  place  and  time  for 
shooting,  and  the  normal  clothing  (not 
costumes  or  special  properties)  required. 


The  personnel  clerk  should  make  a  final 
checkup,  to  be  sure  that  all  these  points 
are  clearly  understood.  Requests  for 
special  materials  of  any  kind  will  at 
the  same  time  be  passed  on  to  the  prop- 
erty head  for  action.  On  the  set.  the 
personnel  and  property  staff  will  assist 
the  director  and  cameramen  in  such 
further  matters  as  are  required. 

Transport  and   Publicity 

Each  of  these  departments  will  work  in 
direct  cooperation  with  the  production 
supervisor,  as  the  need  and  opportunity 
for  their  services  arise.  To  the  trans- 
port head  will  fall  the  job  of  organiz- 
ing such  transportation  facilities  as  are 
available  among  the  club's  membership 
and  assigning  these  facilities  for  use  in 
accord  with  the  conditions  of  time, 
geographical  location  and  technical  fit- 
ness which  may  govern  the  situation. 
Much  effort  may  be  saved  in  this  regard 
if  as  many  permanent  assignments  as 
possible  can  be  made  for  the  entire 
course  of  the  production. 

In  charge  of  publicity  should  be  a 
club  member  who  is  familiar  with  these 
operations  (such  as  a  newspaper  man) 
and  working  with  him  there  should  be 
one  of  the  club's  best  still  photogra- 
phers, to  cover  every  important  phase 
of  the  work.  Since  the  "still"  man  will 
no  doubt  be  involved  in  a  considerable 
amount  of  darkroom  work,  besides  pic- 
ture taking,  it  is  better  if  possible  not 
to  charge  him  with  entire  responsibility 
for  publicity  arrangements. 

Editing  and  Titling 

As  the  production  progresses,  the  prob- 
lem will  arise  as  to  who  can  or  should 
do  the  editing  and  titling  of  the  finished 
film.  With  the  latter  task,  it  seems 
probable  that  one  of  the  camera  staff 
will  be  a  good  choice;  but,  if  you  have 
in  the  club  a  special  expert  at  title 
making,  by  all  means  put  him  at  work. 
The  editing,  on  the  other  hand,  is  prob- 
aby  best  handled  by  the  director  and 
first  cameraman,  since  they  will  be 
most  familiar  with  their  script  and 
with  the  actual  material  that  they  se- 
cured on  film.  Working  with  the  script 
and  in  reference  to  the  scene  slate  num- 
bers, they  should  prepare  a  rough  cut 
of  the  picture  as  the  work  progresses. 
With  all  the  footage  at  last  in  hand,  it 
will  then  be  wise  to  arrange  a  check 
screening  of  the  yet  unpolished  produc- 
tion with  a  small  number  of  represen- 
tatives of  the  client.  Balancing  their 
comments  and  suggestions  against  the 
actual  opportunities  for  further  change 
and  improvement,  the  editors  are  now 
in  a  position  to  cut  the  film  into  its  final 
form. 


MOVIE    MAKERS 


75 


Snow  fun 


[Continued  from  page  59] 

buttons  in  considerable  confusion. 

10.  Long  shot.  A  car  comes  down 
the  street.  Follow  it  as  it  turns  into  the 
driveway — or  in  front  of  the  house  (de- 
pending on  where  Hank  poured  the 
water) . 

11.  Closeup.  The  tires  skid  along  the 
ice. 

12.  Closeup.  Father's  face  —  sur- 
prised,  anxious. 

13.  Medium  shot.  The  car  at  a  crazy 
angle  (either  in  front  of  the  garage  or 
askew  at  the  curb).  Father  breathes  a 
sigh  of  relief.  He  gets  out  to  see  the 
cause  of  his  skid.  Mother  gets  out  on 
the  other  side  of  the  car  and  walks 
toward  the  house. 

14.  Long  shot.  Another  view  of 
Mother,  walking  toward  the  house. 
Hank  is  seen,  with  his  skates  and 
hockey  sticks,  coming  toward  the 
camera. 

15.  Medium  shot.  Father  looks  at 
the  ice.  He  glances  at  Hank  as  the  lat- 
ter enters  the  scene.  Father  understands 
quickly. 

Title.  "All  right,  bright  boy.  Now 
you  can  just  get  the  ice  chopper  and 
clean  off  this  slick  idea  of  yours." 

16.  Medium  shot.  Father  and  Hank. 
The  boy's  face  falls  in  chagrin  and  he 
turns  back  toward  the  house. 

17.  Medium  shot.  The  front  door 
opens,  revealing  Mother,  shaking  her 
head  at  the  footprints  on  the  carpet. 
She  comes  out  of  the  house  and  cups 
her  hands  about  her  mouth,  calling  to- 
ward the  yard. 

18.  Medium  shot.  Two  of  the  girls 
look  up  and  then  run  toward  the  house. 

19.  Medium  shot.  The  doorway 
again.  Mother  has  disappeared;  but,  as 
the  two  little  girls  enter  the  scene,  she 
reappears — this  time  with  two  brooms. 
She  says: 

Title.  "Now — about  this  snow  on  the 
carpet!  I  think  ive  had  better  use  the 
broom — fast!" 

20.  Medium  shot.  The  girls  smile 
sheepishly  and  start  to  work  on  the  hall 
carpet.  Fade  out. 

21.  Medium  shot.  Fade  in.  Hank  is 
working  hard  at  his  job  with  the  ice 
chopper.  He  pauses  for  a  moment,  and 
Father  enters. 

22.  Semi  closeup.  Father  takes  off 
his  hat,  places  it  carefully  on  a  dry  sur- 
face near  at  hand  and  then  lays  his 
pipe  in  the  groove  of  the  hat.  He  speaks 
as  he  straightens  up. 

Title.  "Think  maybe  I  need  some  ex- 
ercise— probably  can  give  you  some 
pointers  on  this  job,  too." 

23.  Medium  shot.  Hank  smiles  and 
hands  over  the  ice  chopper  with  ob- 
vious relief.  His  father  takes  over. 

24.  Closeup.  An  upward  side  view 
of  Hank,  who  is  watching  his  father 
work.    Then,    evidently    hearing    some 


^Aaumada 

FILM 

CLEANING 

UNITS 

Jvaumade 

FILM 

FILING      and 

STORAGE 

CABINETS 

Jiaumaai 

REWINDING 

and 

EDITING     AIDS 


EQUIPMENT 

REELS     •   CANS 

and 
SHIPPING     AIDS 


PROJECTION 

REWIND    and 

EDITING 


Write    for     Illus- 
trated   Literature 
Today 


DEFENSE 


FILMS 


?  During  the  National  emergency  the 
supply  ot  equipment  naturally  is 
bound  to  be  curtailed  by  govern- 
mental decree — this  means  an  extra  bur- 
den on  the  manufacturer  of  such  equipment 
— however  the  Neumade  Company  wishes 
to  give  assurances  of  a  continued  effort  to 
supply  movie  makers  with  equipment  as 
quickly  as  present  emergency  allows — De- 
fense for  U.  S.  government  films — and  for 
all  films  is  essential  for  clearer — better  pro- 
jection. 

W        Neumade    equipment    is    used    in 
'  most   important   government   de- 

partments. 


No.  1— Rewind  Board— and 
editing— complete  -with  two 
geared  end  (1600  ft.)  rewind- 
ers— a  Griswold  Jr.  Splicer, 
cement  holder  and  applica- 
tor —  all  mounted  on 
weighted  porcelain  pan- 
el   40"    long 13"   wide. 


NEUMADE  HUMIDOR 
16mm  Film  Cabinet 
All  steel — electrically  weld- 
ed —  fire  proof.  Tamper 
proof  locking  device  lock 
and  key.  Model  illustrated 
holds      120-100     ft.      reels. 

More    than    50    models    to 
choose  from. 


FOR 

PROFESSIONAL 

RESULTS 

USE 

NEUMADE 

PROFESSIONAL 

EOUIPMENT 


PRODUCTS 

427  WEST   42-STRMT    . 


CORP. 

NEW  YORK. N.Y. 


THE  CLINIC  OFFERS 

DEFENSE  STAMPS 

TO  CONTRIBUTORS 

We  are  proud  to  announce  that,  in  future,  all  con- 
tributions to  The  Clinic  will  be  paid  for  in  Defense 
Stamps.  For  acceptable  ideas,  The  Clinic  will  pay 
$1.00  in  Defense  Stamps  and  for  acceptable  ideas, 
accompanied  by  photographic  illustrations  or 
drawings,  it  will  pay  $3.00  in  Defense  Stamps. 
From  February  1,  these  payments  in  Defense 
Stamps  will  take  the  place  of  the  payments  by 
binder  and  by  check  that  were  previously  offered 
for  The  Clinic  ideas. 

Send  your  filming  stunts,  your  plans  for  home 
built  equipment  to  The  Clinic.  You  can  share  your 
ideas  with  other  filmers  and,  at  the  same  time, 
share  in  our  country's  war  efforts. 


MOVIE  MAKERS 


420   Lexington   Avenue 


New  York,   N.   Y. 


76 


FEBRUARY    1942 


"PROFESSIONAL,  JR."  TRIPOD 

The  importance  of  16  mm  filming  demands  a 
sturdy  tripod  built  along  professional  lines  .  .  . 
the  Professional,  Jr.  Built  to  precision  stand- 
ards "Spread-leg"  design  gives  utmost  rigid- 
ity. Quick,  positive  height  adjustment.  Smooth 
tilt  and  panoram  head.  Camera  platform  takes 
EK  Special,  B&H  Filmo.  Bolex  or  Berndt- 
Maurer  cameras;  also  adaptable  for  35  mm 
Eyemo,  Devry,  etc.  Ideal  for  sound  and  all 
important  work.  Used  by  leading  35  mm  news- 
reel  companies  and  16  mm  producers.  Write 
for  descriptive  literature. 

CAMERA  EQUIPMENT  CO. 

1600  BROADWAY  NEW  YORK,  N.  Y. 


Ideal  Subjects  for  Lenten  Showings 

In  16mm  COLOR  and  SOUND 

Springtime 
m  tfje  SMp  3Uno 

Not  a  religious  film  for  any  single  creed, 
but  a  beautiful  reverent  treatment  of 
the  old  Holy  Places  and  the  new  spirit 
in  Jerusalem  and  Palestine.  Two  reels, 
in  Kodachrome,  with  narrative  and  beau- 
tiful   background    music.  $75    net. 

&  Sabiottr  3?  porn 

A  beautiful  color  motion  picture  of  sin- 
cere religious  import,  with  spoken  dialog 
taken  directly  from  Bible  texts.  A  rev- 
erent   presentation    of    the    Nativity. 

3  reels 

Mv  S^eluueb  Son 

The  words  and  wisdom  of  Jesus,  beauti- 
fully presented  in  authentic,  natural  sur- 
roundings, re-creating  the  places  where 
He  ministered.  3   ree)s 

ASTOR  PICTURES  CORP. 

130  W.  46th  St.  New  York 


CKT)  KODACHROME  (££) 

Now  ready:  400  ft.,  16mm.  Kodachrome  copies  of  "The 
Canadian  Rockies,"  $60.00.  Also,  in  originals  @  18c.  ft., 
any  footage  of  Sosemite.  desert  scenes  and  cactus  blossoms, 
zoo   animals,    San   Francisco   and   other   California   scenes. 

35mm  Kodaslides   (2x2),  50c  each. 

GUY  D.  HASELTON 


noise,  he  looks  in  the  opposite  direc- 
tion. He  suddenly  becomes  interested 
in  something.  As  his  face  lightens,  the 
camera  "pans"  to  a  long  shot  of  the 
yard,  where  the  children  are  building 
the  snowman. 

25.  Medium  shot.  The  snowman. 
The  two  little  girls  come  romping  into 
the  scene,  both  carrying  their  brooms. 
One  immediately  sticks  a  broom  into  the 
snow  behind  the  snowman,  to  give  him 
stiff,  blond  hair.  The  other  girl  places 
her  broom  in  the  snowman's  hand,  to 
form  a  cane.  She  commences  to  cover 
the  straw  at  one  end  with  snow.  (The 
snowman  has  now  been  equipped  with 
the  buttons,  filched  by  the  girls.) 

26.  Medium  shot.  Hank,  watching 
this  scene,  smiles.  He  glances  at  his 
father  and  then  looks  down. 

27.  Closeup.  Father's  hat  and  pipe. 
Hank's  hand  enters  the  scene  and  picks 
them  up. 

28.  Medium  shot.  Father  is  chop- 
ping away.  Hank  backs  toward  the 
yard,  carrying  the  "props"  for  the 
snowman. 

29.  Medium  shot.  The  activity 
around  the  snowman,  as  the  finishing 
touches  are  made.  Hank  enters  and 
places  the  pipe  and  hat  in  appropriate 
places.  (Closeups  are  again  in  order 
here,  of  the  children  as  they  work.) 
Finally,  they  all  stand  back  and  ad- 
mire their  model. 

30.  Semi  closeup.  The  snowman  as 
seen  from  the  children's  view.  (Heads 
of  two  children  might  frame  this  shot.) 

31.  Medium  shot.  Hank  and  some 
others  commence  to  get  snowballs;  then 
they  crouch  behind  the  snowman. 

32.  Long  shot.  From  behind  Hank's 
shoulder.  Father  is  in  the  distance,  at 
work.  A  volley  of  snowballs  flies  toward 
that  hard  working  head  of  the  family. 

33.  Medium  shot.  Father  looks  up 
and  instantly  ducks,  as  a  close  one 
sails  by. 

34.  Closeup.  Nancy  lets  out  a  whoop 
of  joy. 

35.  Closeup.  A  window  of  the  house. 
Mother's  face  appears.  At  first  she 
seems  curious,  then  mildly  amused.  She 
opens  the  window  and  leans  out.  She 
calls : 

Title.  "Look,  Henry,  your  hat  and 
pipe!" 

36.  Closeup.  Father,  still  ducking 
snowballs,  looks  up. 

37.  Closeup.  The  snowman,  with 
pipe,  buttons,  straw  hair  and  hat. 

38.  Closeup.  Father  shakes  his  head, 
then  smiles  and  yells  back: 

Title.  "Look,  your  brooms  and  but- 
tons!" 

39.  Medium  shot.  The  children,  still 
throwing  snowballs,  laugh  uproarious- 
ly. The  end. 


7936   Santa    Monica   Blvd. 


Hollywood,   Calif. 


They  learned  by  doing 

[Continued  from  page  58] 

with  science  and  English,  with  assis- 
tance from  other  departments  of  the 
school. 

The  science  class  used  the  traffic 
safety  film  as  the  basis  for  an  intensive 
study  of  safety  problems,  highway  traf- 
fic, transportation  and  the  science  of 
filming. 

The  English  class  developed  the  sce- 
nario for  the  film  and  assumed  respon- 
sibility for  all  correspondence  and  writ- 
ten reports  on  production  activity.  All 
twenty  one  students  were  in  both  classes. 

Inasmuch  as  Oakvale  is  a  rural  com- 
munity, it  was  a  relatively  easy  matter 
to  decide  that  the  film  should  concern 
itself  with  rural  traffic  safety  problems. 
Furthermore,  the  school  transported 
more  than  eighty  percent  of  its  students 
on  buses;  so  it  was  quite  natural  that 
the  film  be  built  around  school  bus 
safety  problems.  Early  in  the  project, 
it  was  decided  that  a  locally  familiar 
safety  slogan,  "Life's  too  short  to  take 
long  chances,"  would  be  shortened  to 
make  the  film  title,  Life's  Too  Short.  So 
far,  so  good! 

The  next  step  in  the  work  of  the  class 
was  to  determine  just  what  should  go 
into  the  film.  What  was  its  story  to  be? 
"Let's  start  shooting!"  "What'll  we 
shoot?"  "Why?"  "How  do  we  know 
that's  important  enough?"  Maybe  this 
project  was  going  to  take  a  little  work. 

As  the  next  step  in  constructing  the 
outline  for  the  film,  the  classes  gathered 
a  great  variety  of  safety  problems  in- 
volving school  bus  riders  and  presented 
them  in  the  form  of  a  mimeographed 
questionnaire.  All  these  were  problems 
that  they  had  observed  or  that  had  been 
suggested  to  them  in  informal  inter- 
views with  classmates,  safety  patrolmen, 
school  bus  drivers,  State  highway  po- 
lice, county  officials  in  charge  of  school 
transportation  and  others. 

The  questionnaires  were  distributed 
to  all  school  rooms,  where  they  were 
discussed  and  filled  out.  Each  student 
was  asked  to  give  his  opinion  on  the 
most  dangerous  safety  practice  observed 
in  connection  with  school  buses.  These 
questionnaires  were  then  collected,  and 
the  answers  were  tabulated  by  the  se- 
nior class.  Problems  of  equipment, 
driver  responsibility  and  other  similar 
situations  were  discarded  early  in  the 
study.  The  reason  for  this  decision  lay 
in  the  fact  that  the  local  film  was  being 
planned  for  use  with  student  groups; 
therefore,  it  should  include  only  those 
problems  over  which  students  could  ex- 
ercise primary  control.  Then,  too,  "One 
short  film  can't  tell  it  all,  anyway!"  On 
this  basis,  the  class  discovered  five  dan- 
gerous practices  to  be  of  major  impor- 
tance to  local  students: 

1.  Carelessness  in  boarding  the  school 
bus;  failure  to  watch  where  one  steps. 


MOVIE    MAKERS 


77 


2.  Failure  to  remain  in  the  line  estab- 
lished and  supervised  by  the  patrolmen 
while  they  are  loading  the  bus. 

3.  Failure  to  observe  correct  practice 
in  unloading  from  a  bus;  pushing; 
shoving  and  jumping  in  descending  the 
bus  steps. 

4.  Failure  to  obey  safety  patrolmen 
and  the  bus  driver  in  crossing  the 
highway  to  and  from  the  bus  stop. 

5.  Playing  carelessly  along  the  high- 
way while  waiting  at  the  bus  stop. 

So,  there  was  the  outline  for  the  film. 
"Let's  go  shoot  it!"  But.  still  there  was 
work  to  be  done.  How  could  these  five 
situations  be  made  into  an  organized 
story  or  continuity?  How  would  they  be 
presented  in  the  film?  What  artificial 
link  could  be  supplied,  to  prevent  them 
from  appearing  as  five  isolated  ideas? 

Days  and  days  later,  the  continuity 
began  to  take  final  shape.  The  film  was 
to  show  the  five  dangerous  practices,  as 
discovered  in  five  of  the  interviews  that 
the  students  had  made.  After  each  inter- 
view was  reenacted  before  the  camera. 
a  sequence  of  one  of  the  five  safety 
problems  was  to  appear.  Here,  at  last, 
was  a  story  outline  for  the  camera. 

And,  again,  the  youngsters  stopped  to 
think.  Here,  in  the  outline  before  them, 
was  the  negative  approach  to  their  prob- 
lems. Should  not  the  film  also  show  the 
correct  way  in  which  each  of  the  dan- 
gerous practices  could  be  avoided?  "All 
right,  we'll  show  the  right  way,  too!" 
As  a  means  of  introducing  the  "right"' 
way,  each  safety  problem  was  to  be  en- 
acted a  second  time;  but,  in  this  case, 
all  practices  were  going  to  be  safe  and 
proper. 

"Okay,  let's  go!"  And  off  they  went 
— camera  crew,  properties  crew,  loca- 
tion committee,  casting  directors,  script 
clerks,  the  dramatic  cast  and  three  fac- 
ulty advisers,  whose  chief  function  had 
been,  and  would  continue  to  be,  that  of 
a  handy  alibi  for  anything  that  did  not 
"pan  out"  exactly  as  planned. 

Life's  Too  Short  started  through  the 
camera  at  last.  It  was  going  to  be  a 
"cinch"  from  here  in!  The  script  was  in 
"apple  pie"  order,  everything  planned 
down  to  the  last  fade  out.  The  script 
called  for  a  footage  of  approximately 
350  feet  in  16mm.  Kodachrome.  No  fuss. 
no  bother  — just  read  the  script  and 
shoot  it! 

The  first  200  feet  of  film  were  rushed 
off  to  the  processing  laboratory,  and 
production  was  breezing  along  on  the 
home  stretch.  Came  the  day  when  the 
class  sat  down  to  preview  the  first 
scenes — only  another  150  feet  to  shoot, 
and  then  they  could  wrap  it  up. 

Well,  550  feet  later — 

And  therein  hangs  a  lot  more  of  the 
same  tale.  The  lesson  was  learned  quick- 
ly— shooting  350  feet  of  film,  even  if 
done  according  to  a  well  planned  script, 
does  not  necessarily  certify  that  the 
film  editors  are  going  to  have  350  feet 
of   film    to    go    into    the    finished    reel. 


These  youngsters  wanted  a  350  foot  film 
story.  To  get  their  minimum  demands, 
they  shot  750  feet  of  film.  Maybe  ex- 
posure was  not  up  to  standard,  or  per- 
haps the  screen  action  did  not  look  as 
it  did  on  paper.  Or,  perhaps,  in  spite  of 
precautions,  somebody  managed  now 
and  then  to  spoil  a  scene  in  such  subtle 
fashion  that  it  did  not  show  up  until 
the  film  was  screened.  So  — ■  they  shot 
and  reshot! 

Even  then,  they  were  not  completely 
satisfied,  but  the  dead  line  was  almost 
upon  them.  Dead  line  was  Graduation 
Night!  Because  they  had  lived  their 
work  so  intensely,  because  they  felt  a 
pride  in  their  accomplishment  —  even 
though  it  still  did  not  measure  up  to 
all  their  hopes — they  threw  tradition  to 
the  dogs  and  planned  their  entire  grad- 
uation program  around  the  explanation 
and  first  public  showing  of  their  film. 
No  adult  speaker  was  going  to  steal  the 
applause  on  their  program! 

Life's  Too  Short,  a  student  planned 
and  student  produced  film,  received  its 
premiere  on  Graduation  Night.  On  the 
evening's  program,  preceding  the  film, 
student  speakers  described  the  back- 
ground of  their  project;  they  explained 
how  they  went  about  producing  their 
film  as  an  educational  activity  and  told 
what  they  thought  it  meant  to  them  and 
future  classes  of  the  high  school. 

At  the  end,  the  face  of  the  student 
spokesman  was  split  with  a  wide  grin. 
'"It  takes  work  to  make  a  movie — but 
it's  fun!" 

Special 
projection  aids 

[Continued  from  page  61] 

sandpapered,  and  the  inside  was  painted 
French  gray.  The  outside  is  painted  a 
two  tone  gray  and  navy  blue,  in  a  man- 
ner simulating  airplane  luggage. 

The  film  rack  and  cover  lips  are  built 
of  three  quarter  by  one  quarter  inch 
white  wood  strips,  cut  to  fit. 

Steps  for  projector  feet 

I  have  christened  another  handy 
"gadget"  a  "projector  elevator,"  for 
want  of  a  better  name.  Built  of  three 
quarter  by  one  quarter  inch  white  wood 
strips  of  varying  lengths,  in  a  stair  like 
fashion,  it  is  illustrated  in  Fig.  6.  The 
surfaces  are  flat  and  will  allow  a  good 
purchase  for  the  projector  feet.  One 
uses  two  elevators  in  the  rear  of  the 
projector  and  one  or  two,  as  required. 
in  the  front.  With  these  devices,  you 
can  raise  the  projector  to  almost  any 
needed  height. 


You'll  Make 


with  the 

Baylee  Cine -Color 

FILTER  KIT 


K|*.r»o 


You  can  get  really  excellent  color 
movies  with  the  right  filters.  And 
here  are  the  filters  you  need,  preci- 
sion ground  of  optical  glass,  com- 
pactly placed  in  a  leather  filter  case 
with  individual  pockets  —  complete 
with  lenshade  filter-holder  combina- 
tion, at  a  bargain  price. 

The  set  includes  a  polarizing  filter 
for  darkening  skies  without  color 
distortion  and  reducing  color-disturb- 
ing glare  indoors  or  out  ...  a  "must" 
for  good  color  shots;  a  Type  A  filter 
for  shooting  indoor  Kodachrome  out- 
doors; and  a  haze  filter  to  absorb 
the  ultra-violet  rays  that  overtone 
blue. 

The  Baylee  Filter  Kit  comes  in  sizes 
to  fit  most  standard  movie  cameras. 
You'll  find  few  such  filter  buys  .  .  . 
and  the  quantity  is  limited  ...  so 
you'd  better  see  it  TODAY. 

MAIL  < HUM  Its  FILLED 


110  West  32nd  Street,  N.  Y. 

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78 


FEBRUARY    1942 


FILMS    FOR 
VICTORY! 


Closeups  —What  filmers  are  doing 


Vitally  Important  16  mm.  sound  shorts  for 
home  users,  air  raid  wardens,  bomb  han- 
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THE  WARNING 

Showing  the  work  of  civilian  and  military 
defense  during  and  after  an  air  raid.  3 
reels. 

STOP  THAT   FIRE! 

How  to  extinguish   incendiary  bombs. 

GOOFER  TROUBLE 
WAR    and    ORDER 


PM's   Editor   Ingersoll    reports: 

I    SAW    RUSSIA 
HITLER'S  THREAT  TO  AMERICA 


HISTORY  IN  THE  MAKING  Series  with 
Tex  McCrary  as  commentator.  26  titles  in- 
cluding 

OUR   WAR— ROUND    I 

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THE    NEGA-FILE    COMPANY 

EASTON  PENNSYLVANIA 


Those  delightful  Norwegian  Christmas 
customs,  so  charmingly  pictured  by 
Mrs.  Olaf  N.  Olsen,  ACL,  as  to  win  her 
a  Ten  Best  award,  were  shared  to  a  de- 
gree this  year  by  the  staff  of  this 
magazine.  For,  in  the  heart  of  the  holi- 
day season  between  Christmas  and  New 
Year's,  there  arrived  from  St.  Paul  a 
large,  but  strangely  light,  carton 
marked  "Rush"  and  "Fragile."  Within, 
as  immaculately  packed  as  Mrs.  Olsen's 
films  are  edited,  were  bounteous  sam- 
ples of  her  incredible  goodies  —  the 
lefse,  or  potato  cakes;  the  pear  bread, 
rich  with  sweetmeats,  and  the  dainty, 
wafer  thin  Christmas  cakes.  The  ex- 
press company  was  right.  Never  have 
cookies  been  so  fragile  as  the  fattig- 
mand,  Krumkake,  sandbakkelse  and. 
rosettes! 

To  their  many  friends  in  the  amateur 
movie  world,  Movie  Makers  is  happy 
to  announce  the  arrival  of  daughters  to 
Kenneth  F.  Space,  ACL,  present  tech- 
nical consultant  of  the  League,  and  to 
Frederick  G.  Beach,  ACL,  past  tech- 
nical consultant  and  now  supervisor  of 
motion  pictures  for  the  New  York  Cen- 
tral Railroad.  Mrs.  Space  gave  birth 
to  Sandra  on  December  19,  in  St.  John's 
Hospital,  while  Mrs.  Beach  brought 
Nancy  Wright  into  the  world  on  Jan- 
uary 3.  at  Methodist  Hospital,  both  in 
Brooklyn,  N.  Y. 


EOUIPMENT 
If  you  have  not  already  realized  it, 
many  types  of  movie  equipment  are 
becoming  increasingly  difficult  to  ob- 
tain readily.  If  you  have  in  mind  any 
pet  piece  of  equipment  that  you  plan 
to  purchase  "someday,"  you  would  do 
well  to  buy  it  now. 


F  ollowing  the  special  interest  in  cine- 
matography which  he  developed  while 
at  the  Harvard  Medical  School  some 
years  ago,  Warren  Sturgis,  ACL,  is 
now  in  charge  of  motion  pictures  for 
the  U.  S.  Naval  Medical  School,  re- 
cently established  at  the  new  Medical 
Center,  in  Bethesda,  Md.  The  bulk  of 
the  film  work  consists  in  the  produc- 
tion of  record  films  of  routine  surgery, 
clinical  studies  and  research  problems, 
as  well  as  general  consulting  on  the 
production  of  health  films  for  distribu- 
tion among  Navy  personnel.  In  his  new 
work,  Mr.  Sturgis  holds  the  rank  of 
ensign,  a  commission  awarded  him  last 
June,  following  a  course  of  study  in 
the  Naval  Reserve.  He  had  served  pre- 
viously as  an  assistant  director  with 
the  March  of  Time. 

To  Louis  McMahon,  ACL,  of  Passaic, 
N.  J.,  goes  the  honor  of  having  his  film. 


The  Black  Rider,  the  first  of  Movie 
Makers  award  winners  to  reach  the 
television  screen  of  the  Columbia 
Broadcasting  System,  in  New  York 
City.  Presented  on  a  forty  five  minute 
program  over  WCBW,  Mr.  McMahon 
appeared  in  person — together  with  sev- 
eral of  his  colleagues  in  Adventure  Pic- 
tures— in  an  interview  with  Gilbert 
Seldes,  director  of  television  for  CBS, 
whose  invitation  to  award  winners  for 
telecasting  was  extended  in  the  De- 
cember number  of  Movie  Makers.  In  a 
latter  part  of  the  program,  Russell  C. 
Holslag,  ACL,  of  the  League's  staff, 
discussed  with  Mr.  Seldes  popular  types 
of  camera  and  projection  equipment 
used  by  the  amateur  filmer  and  demon- 
strated their  use  before  the  televisor. 

Deep  in  the  bush  of  Southern  Rhodesia, 
sixteen  miles  from  Fort  Victoria,  the 
nearest  habitation,  stand  the  Zimbabwe 
Ruins,  a  gigantic  pile  of  masonry  rank- 
ing with  Ankor  Thom  and  the  Mayan 
pyramids  in  unsolved  mystery.  Such  is 
the  subject  of  Rhodesian  Riddle,  a  film 
planned  by  H.  R.  Eddy,  ACL,  of 
Springs,  in  the  Transvaal,  in  which  he 
will  record  all  the  important  structural 
features  of  Zimbabwe.  Since  not  even 
the  date  of  building  can  be  accurately 
determined  by  archeologists  (although 
it  is  confidently  placed  at  1000  B.  C.  or 
earlier),  Mr.  Eddy  is  appropriately  us- 
ing a  background  of  shadowy,  moving 
question  marks  on  his  title  cards. 

I  f  you  attend  any  screenings  of  those 
films  of  Central  and  South  American 
countries  that  are  being  distributed  by 
the  government  Office  of  Inter  Ameri- 
can Affairs,  the  chances  are  that  all  the 
fine  color  footage  of  Mexico  was  filmed 
by  Ralph  E.  Gray,  ACL,  Maxim  Award 
winner  of  1938.  Mexican  Fiestas,  the 
1600  foot  prize  winner,  Mexican 
Moods,  a  feature  length  successor,  and 
several  thousand  feet  of  lesser  subjects 
have  been  placed  by  Mr.  Gray  at  the 
service  of  the  government  in  this  cam- 
paign for  increased  understanding 
among  the  Americas. 


TEST  FILM 
You  may  find,  like  other  movie 
makers,  that  not  infrequently  you  will 
reach  the  last  few  feet  of  film  in  the 
camera  and  find  that  you  have  not 
enough  unexposed  film  for  a  shot  of 
satisfactory  length.  Instead  of  running 
the  film  off  and  wasting  it,  we  suggest 
that  you  use  such  footage  to  make  test 
shots.  There  are  always  things  that  we 
should  like  to  try  out  but  hesitate  to 
waste  film  in  doing  so — filter  tests, 
aligning  title  boards,  testing  title  ex- 
posures and  so  forth.  The  few  extra 
feet  at  the  end  of  a  roll  will  give  you 
enough  film  to  make  these  trials. 


MOVIE    MAKERS 


79 


HOW  SACRAMENTO   WORKS 


EARLY  last  year,  Sacramento.  Calif., 
turned  to  the  cinema  medium,  to 
acquaint  its  citizens  with  the  workings 
of  the  municipal  government.  The  re- 
sult is  The  Pulse  of  Sacramento,  a 
twenty  five  minute  film  in  color,  with  a 
narrative  and  musical  background.  The 
idea  was  jointly  conceived  by  the  city 
manager,  James  S.  Dean;  the  assistant 
superintendent  of  schools,  George  C. 
Jensen;  and  the  executive  manager  of 
the  Sacramento  Safety  Council,  Ralph 
K.  Clark. 

Mr.  Dean  and  Mr.  Clark  worked 
over  the  scenario  and  the  narrative  un- 
til the  first  part  of  March,  when  the 
time  finally  arrived  for  the  actual  film- 
ing. For  this  job,  they  chose  W.  Jen- 
nings Lucas,  ACL,  a  former  newsreel 
cameraman.  Mr.  Lucas  started  work  on 
March  18,  filming  in  turn  such  depart- 
ments of  the  city  as  the  police,  fire, 
water,  health  and  so  forth.  Shots  of  the 
city  council  meeting  and  some  of  the 
department  scenes  were  unposed;  the 
others  were  directed  by  the  producers. 
When  the  shooting  was  completed,  Mr. 
Lucas  and  Mr.  Clark  spent  three  weeks 
cutting  and  editing  the  2800  feet  of  ex- 
posed film,  to  obtain  the  finished  prod- 
uct of  875  feet. 

While  the  editing  was  in  progress, 
members  of  Station  KFBK,  operated  by 
the  Sacramento  Bee,  were  hard  at  work 
on  the  sound  for  the  movie.  Emil  Mar- 
tin, a  staff  organist,  prepared  a  musical 
accompaniment,  after  which  the  an- 
nouncer, Larry  Robertson,  in  a  twelve 
hour  session,  added  the  narrative,  to  the 
organ  record.  When  this  post  recorded 
sound  was  put  on  the  film,  all  was  in 
readiness  for  the  preview  by  the  city 
councilmen  in  Sacramento,  June  6. 

The  movie  was  well  received,  and  Mr. 
Lucas  writes,  "the  copies  are  booked 
for  weeks  ahead."  This  success  has 
stimulated      plans      for      future     films. 


Courtesy    Sacramento     Bee 


March   Winter":  1/50  at  F/ll,  ortho  film,   K-2  filter 


Let  pictorialist 
Gustav  Anderson  te 
why  he  used  his 

G-E  EXPOSURE  M 

on  this  shot 


II  you 
ETER 


•  Above,  frame  enlargements  from  "The 
Pulse  of  Sacramento,"  story  of  the  mu- 
nicipal government  of  Sacramento,  Calif. 
Below,  W.  Jennings  Lucas,  ACL,  camera- 
man, and  Ralph  K.  Clark  shooting  Fire 
Department   first  aid. 


A  love  for  skiing,  and 
25  years  of  pictorial 
photography  explain 
Mr.  Anderson's  mastery 
of  snow  pictures. 


"To  capture  the  beautiful  gradation  of  tones 
in  these  sparkling  highlights  and  dark  shadows, 
your  exposure  must  be  RIGHT — within  half 
an  F-stop.  I  know  by  experience  that  I  can 
depend  on  my  G-E  meter  for  unfailing  accu- 
racy, even  in  sub-zero  weather! 

Get  a  G-E  meter,  and  get  better  pictures  in 

black-and-white  or  color.  You'll  like  its  quick, 

one-hand  operation    (grand  for  ski  trips);  its 

sharply  directional  field  of  view  that  guards 

shadow    detail;    its 

sensitivity    in    dim 

light;  and  its  sturdi- 

ness.  At  good  photo 

dealers    everywhere. 

General  Electric  Co., 

Schenectady,  N.  Y. 


o 


GENERAL  m  ELECTRIC 


80 


FEBRUARY    1942 


NOW! 

A  New 

CASPECO 

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MOVIE 

TRIPOD 

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Substantial  is  the  word  for  it!  Here's 
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Rigid  and  sturdy,  CASPECO  Tripod 
gives  rock-steady  pictures.  Full  pan-tilt 
head  locks  firmly  at  a  turn  of  the  handle. 
Tilt  top  allows  camera  to  point  straight 
down  for  title  making,  etc.  Legs  lock 
securely  at  any  height  by  a  simple  twist; 
this  special  design  (pat.  applied  for) 
was  originated  by  Caspeco.  Tripod  ex- 
tends to  five  feet  in  height.  Beautifully 
finished  in  polished  metal  and  battleship 
gray.    A    lifetime    buy    at $15.00 

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Are  cameras  dangerous? 

[Continued  from  page  71] 

the  rules  that  have  been  announced  as 
representing  the  desires  of  the  Army 
and  the  Navy.  I  enclose  a  page  from  the 
January  number  of  the  magazine  pub- 
lished by  the  Amateur  Cinema  League, 
Movie  Makers,  which  outlines  the  re- 
strictions now  in  existence. 

2.  It  singles  out  cameras,  both  mo- 
tion picture  and  still,  for  restrictions 
that  have  not,  so  far  as  I  have  learned, 
been  imposed  in  New  Britain  upon 
other  means  of  communication.  I  do 
not  believe  that  you  have  forbidden  the 
citizens  of  your  community  and  the 
visitors  who  come  to  it  to  write  letters 
and  to  entrust  them  to  the  United 
States  mails  for  delivery.  I  doubt 
whether  you  have  banned  the  use  of 
telegrams  or  have  enforced  a  stoppage 
of  all  telephone  communication.  I  have 
not  heard  that  you  have  suspended  the 
publication  of  newspapers  in  your  city.  I 
am  quite  certain  that  you  have  not  made 
conversations  outside  a  man's  own  home 
illegal  in  New  Britain.  I  am  of  the  opin- 
ion that  newspaper  and  newsreel  cam- 
eramen are  not  required  to  secure  a 
specific  permit  from  your  police  de- 
partment before  they  record  specific 
events  in  New  Britain  with  their  cam- 
eras. I  do  not  believe  that  you  have  de- 
nied the  right  to  your  citizens  to  as- 
semble in  meetings,  either  formal  or 
purely  social. 

Yet,  I  submit,  Mr.  Mayor,  that  all 
these  means  of  communication  are  ca- 
pable of  transmitting  more  detailed  in- 
formation concerning  any  war  activi- 
ties in  New  Britain  than  are  cameras 
in  the  hands  of  private  citizens  of  the 
United  States.  The  fact  that  cameras 
have  been  made  the  subject  of  roman- 
tic tales  of  espionage  in  novels,  on  the 
stage  and  on  the  screen  and  the  fact 
that  both  Japanese  and  Germans  are 
addicted  to  the  use  of  cameras  have 
caused  the  popular  mind  unthinkingly 
to  conclude  that  a  camera  can  be  as 
deadly  as  an  incendiary  bomb.  As  a 
matter  of  actual  reality,  one  telephone 
conversation  in  a  foreign  language 
could  give  to  our  enemies  more  infor- 
mation concerning  the  war  activities  of 
New  Britain  than  could  a  hundred  cam- 
eras operated  on  your  beautiful  streets. 

If  you  were  to  be  entirely  logical  and 
consistent  and  were  to  forbid  letters, 
telegrams,  telephone  calls,  newspapers, 
conversations  and  meetings  in  New 
Britain,  for  the  reason  that  they  are 
more  detailed  means  of  communication 
than  are  cameras,  you  would  find,  Mr. 
Mayor,  that  your  Chief  of  Police  would 
have  a  minor  revolution  upon  his  hands 
and  that  you  and  he  would  be  the  ob- 
jects of  national  ridicule. 

I  submit  that  the  regulations  already 
existing  on  a  national  scale  that  cover 
communication   of   all   kinds   are   those 


that  best  serve  the  present  emergency. 
The  object  of  your  solicitude  is  a  na- 
tional and  not  a  local  matter.  The  pos- 
session of  cameras  by  enemy  aliens  has 
already  been  forbidden  by  our  national 
government,  but  they,  as  well  as  sta- 
tionery and  postage  stamps,  still  are 
permitted  to  the  citizens  of  the  United 
States,  for  reasonable  use — outside  of 
New  Britain. 

The  matter  of  censorship  of  com- 
munications is  being  given  definite  and 
not  unreasonable  attention  by  the 
United  States  government.  It  has  been 
brought  about  largely  by  the  free  and 
voluntary  cooperation  of  our  citizens, 
in  the  important  fields  of  wired  and 
wireless  communication.  The  appoint- 
ment of  a  highly  respected  newspaper 
man  as  Director  of  Censorship  has  as- 
sured the  people  of  our  country  that 
the  watch  over  letters  and  publications 
will  be  conducted  in  a  calm  and  fair 
way. 

If  local  authorities  go  beyond  these 
national  controls,  there  will  inevitably 
be  expressions  of  local  and  individual 
viewpoints.  In  your  city,  cameras  are 
banned,  except  under  rigid  restricted 
use.  In  some  other  city,  telephones  will 
be  singled  out  as  the  potential  traitors; 
elsewhere  lectures,  sermons  or  news- 
papers will  be  the  objects  of  local  con- 
demnation. The  end  of  all  these  in- 
dividual censorships  will  be  national 
chaos. 

On  behalf  of  the  organized  personal 
motion  picture  makers  of  the  United 
States  who  are  members  of  the  Ama- 
teur Cinema  League,  as  well  as  the  hun- 
dreds of  thousands  of  camera  owners 
and  users  in  our  country,  I  ask  you, 
Mr.  Mayor,  to  rescind  your  instructions 
to  your  chief  of  police  concerning  the 
use  of  cameras  in  New  Britain  and  I 
urge  that  you  follow  the  national  regu- 
lations that  have  been  announced  and 
that  will,  from  time  to  time,  be  modi- 
fied, which  govern  the  use  of  cameras 
at  the  present  time. 

I  shall  greatly  appreciate  further 
word  from  you,  after  you  have  read 
this  letter. 

Very  sincerely, 
Roy  W.  Winton 
Managing  Director 


A  popular  titler  plan 

[Continued  from  page  62] 

concerned  the  height  of  the  camera 
block.  Readers  asked  how  it  could  be 
ascertained  and  why  this  dimension  was 
not  noted  on  the  construction  diagram. 
The  reason  why  this  dimension  is  not 
indicated  is  that  the  height  of  the  block 
varies  according  to  the  make  of  the 
camera  that  is  to  be  used  on  the  titler. 
However,  it  is  a  simple  matter  to  dis- 
cover the  proper  height  for  the  block 
for  your  particular  camera.  On  a  title 


MOVIE    MAKERS 


81 


card,  the  full  size  of  the  title  easel, 
draw  diagonal  lines  connecting  the  op- 
posite corners  of  the  title  card  and  then 
place  the  card  on  the  easel.  (See  Fig  l.~) 
Then  measure  the  distance  from  the 
point  at  the  center  of  the  card,  where 
the  lines  cross,  to  the  base  of  the  titler. 
This  distance  is  found  by  adding  the 
distances  A  and  B  in  Fig.  3.  Next, 
measure  the  exact  distance  from  the 
lower  edge  of  the  camera  to  the  center 
of  the  lens.  (C  in  Fig.  3.)  By  subtract- 
ing the  distance  C  from  the  total  of  A 
and  B,  the  correct  height  of  the  camera 
block  (X  in  Fig.  3)  results. 

A  curved  drawer  pull  may  be  fastened 
to  the  back  of  the  camera  block  for  ease 
of  handling,  if  desired.  The  inside  cor- 
ners of  the  camera  support  may  be  rein- 
forced with  metal  brackets,  for  added 
sturdiness,  and  a  tripod  screw,  although 
it  cannot  be  seen  in  the  drawing,  should 
be  placed  in  the  top  of  the  block,  to 
hold  the  camera  in  solid  position. 

If  you  wish  to  use  your  camera  at  a 
variety  of  distances  from  the  easel  in 
the  course  of  title  filming,  a  metal  meas- 
uring tape  or  a  yardstick  may  be  fast- 
ened on  top  of  one  of  the  molding 
strips.  By  using  the  tape  or  yardstick, 
you  can  quickly  place  the  camera  at 
any  specific  distance  from  the  title 
easel. 

Amateur  clubs 

[Continued  from  page  65] 

cisco  gathered  recently  for  their  annual 
dinner  and  election  of  officers.  Those 
chosen  by  the  club  for  leadership  in 
1942  were  Rudy  Arfsten.  ACL,  presi- 
dent; Anthony  Kleyn,  vicepresident; 
Fred  Youngberg,  treasurer;  Mrs.  John 
Seitz,  secretary.  Three  directors  were 
chosen  from  among  the  five  club  mem- 
bers who  were  suggested  by  the  nom- 
inating committee:  David  Redfield, 
John  Smurr,  ACL,  L.  J.  Duggan,  ACL, 
Fred  Wells  and  L.  M.  Perrin,  ACL.  Ice 
Follies  and  Summer  Vacation,  both  by 
Allyn  Thatcher,  rounded  out  the  elec- 
tion night  program. 

In  Milwaukee  Fourteen  films  were 
entered  by  eleven 
members  of  the  Amateur  Movie  Society 
of  Milwaukee,  in  that  group's  recent 
Fourth  Annual  Contest.  Judged  in 
8mm.  and  16mm.  divisions,  the  original 
entries  were  cut  down  to  the  five  best 
in  each  class  by  a  board  of  club  mem- 
bers. The  top  ten  were  sent  to  the  ACL 
office  for  rating  by  the  staff  of  the 
League.  The  final  decisions  of  the  con- 
sultants of  the  League  rated  the  films 
as  follows,  in  each  group:  8mm. — My 
Garden  Diary,  by  Mrs.  William  Rhein- 
gans;  A  Dog's  Life,  by  William  Rhein- 
gans;  Childhood  Memories,  by  Mrs. 
DeLylia  Mortag;  Time  Marches  On,  by 
Al  Wutdke;  Oh,  Daddy,  by  A.  H.  Ker- 
sten,  ACL;  16mm. — House  and  Garden, 


by  Mrs.  Erma  Niedermeyer,  ACL;  Lit- 
tle and  Lively,  by  Lawrence  Kakatsch, 
ACL;  Legion  on  Parade,  by  Eugene 
Millmann,  ACL;  Ducks  vs.  Hunters, 
by  Mrs.  Niedermeyer;  Behind  The 
Scenes,  by  Dr.  Frederick  Hadley.  The 
Milwaukee  club  maintained  a  booth,  ex- 
hibiting equipment  and  films,  through- 
out the  four  day  run  of  the  Wisconsin 
Hobby  Exposition,  held  in  the  Milwau- 
kee Auditorium. 

Union  County  counts     Although 

still  less 
than  a  year  old,  the  Union  County  Cin- 
ema Club,  ACL,  with  headquarters  in 
Elizabeth.  N.  J.,  boasts  forty  nine  paid 
up  members  and  formal  acceptance  as 
an  affiliated  unit  of  the  Union  County 
Park  Commission.  Officers  for  the  club's 
first  year  are  Alfred  A.  Little,  ACL, 
president;  Alan  Cavadel,  vicepresident; 
Neil  Hurley,  secretary;  William  W. 
Chamberlin,  treasurer.  Michael  Di  Pris- 
co  is  editor  of  Reel  Life,  a  news  bulletin 
recently  inaugurated. 

Eights  See  Winner  Featured  on 
a  recent  pro- 
gram of  films  presented  by  the  New 
York  8mm.  Motion  Picture  Club  was 
Auntie  in  Moccasins,  the  comedy  of 
camping  by  Joseph  Harley,  ACL,  which 
later  won  him  a  place  in  the  Ten  Best 
of  1941.  Mr.  Harley  is  a  member  and 
officer  of  the  Motion  Picture  Club  of 
the  Bell  Laboratories  Club,  ACL,  in 
New  York  City.  Other  pictures  seen  by 
the  8mm.  group  were  a  Christmas  color 
film  by  Joseph  F.  Hollywood,  ACL;  a 
color  scenic  of  Acadia  Park,  Maine,  by 
Mr.  Roesken,  and  unedited  footage  of 
the  South  Seas,  submitted  by  a  friend 
of  a  club  member. 

Metro  ballots  Officers  for  the  com- 
ing year  have  been 
elected  by  the  Metro  Movie  Club  of 
River  Park,  in  Chicago,  as  follows:  Dr. 
C.  Enion  Smith,  ACL,  president:  Mor- 
ris Baker,  ACL,  vicepresident;  William 
J.  Wright,  treasurer;  Russell  Nebrick, 
secretary.  Serving  with  them  on  the 
board  of  directors  are  Theodore  D. 
Shaw,  ACL,  James  Stevenson,  ACL. 
L.  M.  Jacobsen,  Harry  M.  Clark,  ACL, 
and  I.  T.  Cloud.  Members'  films  seen  at 
late  meetings  have  been  produced  by 
A.  H.  Elliott,  ACL,  and  the  Messrs. 
Smith,  Shaw  and  Clark. 

Tri-City  dines  Seventy  members 
and  guests  of  the 
Tri-City  Cinema  Club — gathered  from 
Rock  Island  and  Moline,  111.,  and 
Davenport,  Iowa — met  around  the  ban- 
quet tables  recently  for  that  unit's 
annual  dinner  meeting.  Raymond 
Schmidt,  ACL,  the  club's  president, 
served  as  toastmaster,  with  John  Hoff- 
man. ACL.  recording  the  festive  oc- 
casion in  16mm.  Kodachrome.  The  pro- 
gram featured  a  screening  of  The  Will 


HAL  ROACH 

16mm  SOUND  FILMS 

Available  for 

FIRST  TIME! 

Good  news  for  home  movie  fans  .  .  . 
churches  .  .  .  schools  .  .  .  institutions 
and  others!  4  rollicking  Hal  Roach  hits 
for  non-theatrical  presentation.  Makes 
your  audience  feel  all's  right  with  the 
world.  Puts  your  show  over  with  a 
bang!  Order  from  your  film  library — 
today! 


THERE 

GOES 

MY 

HEART 

(Available 
Now) 


Fredric  March,  Virginia  Bruce.  Extra!  Dash- 
ing reporter  clashes  with  headstrong  heiress! 
Does  he  get  his  story?  Does  she  hold  on  to 
her  heart? 


TOPPER 
TAKES 

A 
TRIP 

(Available 
Now) 


Constance  Bennett,  Roland  Young.  A  beauti- 
ful "ectoplasma-girl"  leads  Topper  a  merry 
chase!    Laughs!   Unusual   camera  tricks! 


ZENOBIA 

(An 

Elephant 

Never 

Forgets) 

(Available 
May  I,  1942) 


Oliver  Hardy,  Harry  Langdon,  Billie  Burke, 
Alice  Brady,  Hall  Johnson  Choir.  Gay!  Origi- 
nal!   Hilarious!    Has   Zenobia   a    phobia? 


CAPTAIN 
FURY 

(Available 
June  I,  1942) 


Brian  Aherne,  Victor  McLaglen.  Australia's 
Robin  Hood  rides  again— fighting  for  free- 
dom, in  this  thrilling   adventure  tale.  Action! 


Contractual  agreements  require  the  maintenance  of  a 
minimum  daily  rental  rate  of  $17.50.  An  allowance 
of  $2.50  is  permitted  on  group  or  contract  bookings. 
Offering  these  pictures  at  lower  prices  may  lead  to 
cancellation  of  exhibition  without  notice. 


POST  PICTURES 


723  Seventh  Ave.     Dept.  13     New  York,  N.  Y. 


82 


FEBRUARY    1942 


CI 


a  ss  i 


fied 


a  d  ve  r  1 1  s i 


£§ 


|  Cash  required  with  order.  The  closing  date  for 
the  receipt  of  copy  is  the  tenth  of  the  month  pre- 
ceding issue.  Remittance  to  cover  goods  offered 
for  sale  in  this  department  should  be  made  to  the 
advertiser  and  not  to  Movie  Makers.  New  classi- 
fied advertisers  are  requested  to  furnish  references. 

■  Movie  Makers  does  not  always  examine  the 
equipment  or  films  offered  for  sale  in  CLASSI- 
FIED ADVERTISING  and  cannot  state  whether 
these  are  new  or  used.  Prospective  purchasers 
should  ascertain  this  fact  from  advertisers  before 
buying. 

10  Cents  a  Word  Minimum  Charge  $2 

|  Words  in  capitals,  except  first  word  and  name, 
3  cents  extra. 


EQUIPMENT   FOR  SALE 

|  BASS  SAYS:  Cine  leadership  displayed  more 
than  ever  by  magnificent  choice  of  fine  equip- 
ment. USED  CAMERAS:  8mm.  Bell  &  Howell 
Single  8,  //3.S  lens,  with  case,  $22.50;  8mm. 
Keystone,  f/2.7  lens,  with  case,  $27.50;  8mm. 
Bell  &  Howell  Sportster,  Cooke  f/2.5  lens,  with 
case,  $57.50;  16mm.  Bell  &  Howell  70A,  Cooke 
//3.5  lens,  844.50;  16mm.  Victor  3,  Dallmeyer 
f/2.9,  $47.50;  16mm.  Bell  &  Howell  Magazine 
Model  141,  Cooke  //2.7  lens,  case,  $87.50;  16mm. 
Kodak  Cine  Magazine,  f/1.9  lens,  $92.50;  16mm. 
Simplex  Magazine  Pockette,  Kodak  f/1.9  lens, 
focusing  mount,  optical  finder,  with  3"  Hugo 
Meyer  telephoto  interchangeable,  $89.50;  16mm. 
Magazine  Filmo  Model  121,  Cooke  //1. 8  lens, 
case,  $74.50;  16mm.  Bell  &  Howell  Autoload 
Master  Turret  outfit,  15mm.  fixed  focus  //2.7 
wide  angle,  1"  f/2.7  focusing,  2"  Acura  Telate 
//2.8  focusing,  $247.50;  16mm.  Movikon,  Son- 
nar  f/lA,  coupled  range  finder,  with  case, 
$295.00.  USED  PROJECTORS:  16mm.  Bell  & 
Howell  Model  57A,  reconditioned,  400  watt  lamp 
and  case,  $47.50;  16mm.  Bell  &  Howell  Model 
57GG,  375  watt  lamp,  variable  resistance  and 
volt  meter,  with  case,  $64.50;  16mm.  Ampro 
Model  NC,  750  watt  lamp  and  case,  $107.50; 
16mm.  Kodascope  Model  EE,  750  watt  lamp, 
$50.00.  USED  SOUND  PROJECTORS:  Victor 
Animatophone  Model  33,  750  watt  lamp,  10  watt 
output,  1600  ft.  with  speaker  and  case,  $217.50; 
Victor  Animatophone  Model  40A,  new  condi- 
tion, 750  watt  lamp,  20  watt  output,  with 
speaker,  $275.00;  RCA  PG-60,  1600  ft.  capacity, 
500  watt,  complete,  $97.50.  Limited  Number: 
Discontinued  new  model  Craig  Jr.  16mm.  ani- 
mated Editor,  Splicer  and  Rewind.  Regularly 
$31.50;  our  price,  $23.65.  In  stock — all  the  hard 
to  get  cameras  and  projectors,  including  Filmo- 
masters,  Ampro  KD's  and  Ampro  8's.  Just  out — 
complete  revised  Cine  price  list,  covering  larg- 
est assortment  in  the  country  including  sound. 
Free  on  request.  BASS  CAMERA  COMPANY, 
Dept.    CC,    179   W.    Madison   St.,    Chicago,    111. 

■  ONE  Model  D.  Filmo,  turret  front,  excel- 
lent condition,  offered  with  Mayfair  case  and 
one  f/3.$  Taylor  Hobson  Cooke  1"  lens,  price 
$80.00.  JAMES  FLETT,  400  W.  Madison  St., 
Chicago,    111. 

■  16mm.  BOLEX,  filter  slot,  focuser  tube, 
transito,  synchronous  motor,  wide  angle  and  1" 
f/1.5  Hugo  Meyer  lenses,  2"  Dallmeyer  //2.9 
and  3  M"  f/3.3  telescopic,  carrying  case,  list 
$924.30;  sell  factory  condition  $575.00,  condi- 
tion guaranteed.  S.  HOWE  WILLIAMS,  Dos- 
well,   Va. 

■  BARGAIN:  Berndt  Maurer  recorder,  400  foot 
magazines,  unilateral  type  track;  guaranteed  ex- 
cellent condition.  FILM  ASSOCIATES,  429 
Ridgewood,    Dayton,    Ohio. 

■  CONTAX  Series  II,  //1.5  lens,  absolutely 
new  condition,  field  case;  also  Cine-Kodak  8mm. 
Model  90,  magazine  loading,  standard  and  wide 
angle  lens,  field  case.  Best  offer  accepted. 
WALTER  A.  MARCIL,  54  Athol  St.,  Spring- 
field,   Mass. 

■  AURICON  SOUND  ON  FILM  RECORDER, 
like  new,  $625.00;  16mm.  Cine-Kodak  Model  B, 
f/1.9  lens,  good,  $39.50;  16mm.  Bolex  with 
Kodak  f/1.9  lens,  like  new,  $195.00;  8mm. 
Bolex  with  Wollensak  //1.9,  like  new,  $195.00; 
like  new  16mm.  Bell  &  Howell  141A  with  new 
B  &  H  fixed  focus  //2.7,  $79.50;  8mm.  Cine- 
Kodak  Model  20,  f/3.5,  excellent  condition, 
$19.50;  8mm.  Bell  &  Howell  Sportster,  f/2.5, 
like  new,  $57.50;  16mm.  Cine-Kodak  Magazine, 
//1.9,  excellent,  $79.50;  16mm.  B  &  H  Model 
70DA  with  new  Kodak  f/1.9,  excellent  condi- 
tion, $149.50.  Sale  of  film  from  our  rental 
library.  8mm.  complete  edition,  $3.75;  16mm. 
complete  edition,  $6.00;  16mm.  sound  deluxe, 
$12.75.  Most  Castle,  Official  and  Fireside  sub- 
jects available — limited  quantity — condition,  like 
new.  Complete  stock  of  8  and  16mm.  movie  cam- 
eras, projectors,  lenses  and  accessories.  HABER 
&  FINK,  INC.,  12  Warren  St.,  New  York  City. 
BArclay  7-1230. 


EQUIPMENT   WANTED 


■  FIDELITONE  dual  turntable  with  three  pick- 
ups, prefer  without  amplifier,  new  or  used,  write 
full  description  and  lowest  cash  price.  A.  A. 
HEBERT,   53   Allyn  St.,   Hartford,   Conn. 

FILMS    FOR    RENTAL    OR    SALE 

■  MONEY  maker!  "The  World's  Greatest  Pas- 
sion Play."  16mm.  and  35mm.  sound  or  silent. 
Purchase  or  rent  everywhere.  Superior  to  Ober- 
ammergau  play.  Write  HEMENWAY  FILM  CO., 
33-B  Melrose   St.,   Boston,   Mass. 

■  8-16-35mm.  FILMS  bought,  sold,  exchanged. 
Silent,  sound,  $2.00  up.  Odd  reels,  $1.50;  1000  ft. 
35mm.,  $.95.  Catalog,  sample  film,  10c.  INTER- 
NATIONAL,  2120   Strauss,   Brooklyn,   N.  Y. 

■  8MM-16MM  Sound  and  silent  films,  projectors 
and  cameras;  bought,  sold  and  exchanged.  Trades 
and  terms  accepted.  Free  bargain  bulletin. 
ZENITH,   308   W.   44th   St.,   New  York. 

■  BARGAINS:  Used  16mm.  sound  films  for  out- 
right sale.  $4.00  per  reel  and  up.  MAJESTIC 
16MM  PICTURES,  1611  Davenport,  Omaha, 
Nebr. 

FILMS    FOR    EXCHANGE 

■  EXCHANGE:  Silent  pictures,  $1.00  reel. 
Finest  sound  film  programs,  rent  reasonable;  also 
sell.  CINE  CLASSIC  LIBRARY,  1041  Jefferson 
Ave.,    Brooklyn,   N.   Y. 

■  SOUND,  silent  films  exchanged,  rented, 
bought;  8  &  16mm.;  always  bargains.  Get  on  our 
list.   FRANK  LANE,  80  Boylston,  Boston,  Mass. 

■  8MM  FILMS!  Castle  Releases.  50  ft.  180  ft. 
New  prints.  Good  used  prints.  Sales.  Exchanges. 
Trade-ins.  RIEDEL  FILMS.  Dept.  MM-242,  2221 
W.  67th  St.,  Cleveland,  Ohio. 

TRADING    OFFERS 

■  REVOLVERS.  PISTOLS,  SHOTGUNS, 
RIFLES — very  liberal  allowances  for  such  fire- 
arms toward  purchase  of  photographic  equip- 
ment. In  spite  of  present  conditions,  we  can 
make  immediate  delivery  of  Bolex  cameras,  East- 
man Model  90  8mm.  Cine-Kodaks,  Bell  & 
Howell  8mm.  and  16mm.  projectors,  Bell  & 
Howell  Filmosounds,  1-inch  //1.5  lenses,  l^-inch 
f/1.9  lenses,  2-inch  f/1.9  lenses,  15mm.  f/1.5 
lenses,  2-inch  f/1.6  lenses,  Kodak  Ektras,  and 
other  items  now  very  scarce.  Write  for  full 
particulars.  NATIONAL  CAMERA  EX- 
CHANGE, Established  1914,  11  So.  5th  St., 
Minneapolis,    Minn. 

MISCELLANEOUS 

■  COMPLETE  printing  outfit  for  movie  titles: 
presses,  type,  ink,  paper  and  supplies.  Write  for 
details.  KELSEY  PRESSES,  D-50,  Meriden,  Conn. 

■  EDITOLA — for  double  system  16mm.  Sep- 
arate heads  for  sound  and  picture.  Shows  picture 
and  reproduces  sound.  Particulars.  EDITOLA, 
894   Woodland   Ave.,   Oradell,   N.   J. 


Just  Out 


A   Brand   New   League   Leader — 

different  from  all  preceding  ACL 

leaders.  It  combines  a  leader  and 

a  "THE  END"  title. 

The  new  ACL  leader  combines  an 
introductory  animated  sequence 
to  open  your  film  and  a  "THE 
END"  title  to  splice  at  the  end  of 
a  picture.  The  leader  and  "THE 
END"  are  separated  by  two  blank 
frames  so  that  it  is  easy  to  cut  them 
apart. 

Both  sections  of  the  leader  are 
cleverly  animated  with  profes- 
sional trick  work  ...  a  brilliant 
combination  of  wipes,  zooms  and 
other  effects. 

League  leaders  are  given  free  to 
every  member  when  he  renews  his 
membership.  They  are  given  free  to 
every  member  who  gets  a  new  mem- 
ber for  the  League. 
Otherwise,  they  are  offered  to  ACL 
members  at  the  following  prices: 
8mm 50c  16mm 60c 

Amateur     Cinema     League,     Inc. 

420   LEXINGTON   AVENUE,   N.   Y.,    N.  Y. 


and  The  Way,  Maxim  Award  winner 
for  1940,  and  three  other  selected  films 
from  the  League's  Club  Library.  Tom 
Griberg,  ACL,  presented  each  of  the 
members  with  an  attractive  club  mem- 
bership leader,  filmed  in  Kodachrome. 

In  Chicago  Having  completed  their 
fourth  year  of  monthly 
informal  dinner  meetings  and  educa- 
tional programs,  the  Chicago  Cinema- 
tographers  announce  a  few  vacancies 
for  new  members  in  1942.  The  club  is 
a  small  unit  that  is  interested  in  ad- 
vanced phases  of  movie  making,  accord- 
ing to  the  announcement  of  F.  W. 
Novak,  publicity  chairman.  Further  in- 
formation about  the  group  may  be  had 
from  Mr.  Novak  at  3006  South  Chris- 
tiana Avenue,  in  Chicago. 

Seen     at     Winnipeg     Members' 

films  have 
been  featured  at  late  meetings  of  the 
Winnipeg  Cine  Club,  in  Canada,  ac- 
cording to  reports  published  in  Movie- 
Craft  Neivs,  the  club  bulletin.  These 
have  included  Eastern  Canada  and  the 
United  States,  by  Alex  Taylor;  Calgary 
Stampede,  Banff  and  Lake  Louise,  by 
H.  S.  Cox;  With  the  R.C.A.F.  on  Active 
Service,  an  8mm.  black  and  white  rec- 
ord film  by  a  member  of  the  Canadian 
Air  Force;  Colorful  Seasons  and  Merry 
Christmas,  by  Dr.  C.  H.  Goulden.  ACL; 
With  the  Winnipeg  Horticultural  So- 
ciety, by  William  Cross.  Members  of 
the  group  are  planning  production  of  a 
film  of  Winnipeg's  war  effort,  under 
the  leadership  of  Walter  Lawson,  sec- 
retary. 

S.   L.   O.   Cinema   Club  New  on 

Califor- 
nia's coast  is  the  San  Luis  Obispo  Cine 
Club,  ACL,  organized  late  in  1941.  First 
officers  include  Louis  Perozzi,  ACL, 
president;  Mitchell  W.  Allen,  vicepresi- 
dent  and  program  chairman;  Charlotte 
Negrich,  secretary  treasurer;  Earl 
Farmer  and  Louis  Washburn,  directors. 
Meetings  are  being  held  on  the  first  and 
third  Mondays  of  the  month,  in  Mission 
Hall  on  Monterey  Street. 


Practical  films 


[Continued  from  page  63] 

indigenous  to  the  area.  This  movie  is 
constantly  being  revised,  for  Mr.  Hil- 
fiker  inserts  new  footage  whenever  he 
shoots  some  that  he  considers  better 
than  scenes  in  the  existing  film.  Life  at 
the  Beaver  Pond  has  been  seen  by  over 
60.000  persons  within  the  last  year, 
Mr.  Hilfiker  estimates,  in  school  and 
museum  groups  and  conservation  organ- 
izations. Besides  this  production,  Mr. 
Hilfiker  has  a  film  of  the  life  history  of 
the  Cecropia  moth  and  another  of  wild 
flowers  that  are  native  to  Rochester. 
N.  Y..  where  he  has  done  most  of  his 
filming. 


MOVIE    MAKERS 


83 


Scout  Activities  Filmed 

In  1200  feet  of  8mm.  film,  Henry  J. 
Brock,  ACL,  sets  forth  the  practical 
side  of  Scouting  for  the  Boys'  Club  of 
St.  Marys,  Pa.  Not  only  did  Mr.  Brock 
wish  to  interest  members  of  his  Troop 
Committee  and  parents  of  prospective 
Scouts,  but  he  also  wanted  to  demon- 
strate to  other  troops  the  possibilities 
of  8mm.  film  for  publicity  work  in  their 
own  communities.  Opening  with  scenes 
of  experienced  Scouts  teaching  the  new- 
comers, the  body  of  the  movie  is  con- 
cerned with  life  at  camp. 

Prefabricated  Houses 

Sponsored  by  Pease  Woodwork  Com- 
pany, of  Cincinnati,  a  1200  foot,  16mm. 
color  film  with  sound,  called  Peaseway 
Houses,  was  released  by  Film  Associ- 
ates, of  Dayton,  Ohio.  Set  forth  in  an 
interesting  manner  are  the  steps  in  the 
erection  of  prefabricated  houses,  with 
emphasis  placed  on  the  speed  and  sound- 
ness of  construction.  David  Pease  di- 
rected the  film.  Ray  Arn  was  camera- 
man, Fred  Shelton,  jr..  was  the  script 
writer  and  Kirby  Brooks  was  the  nar- 
rator. The  film  closes  with  scenes  of 
completed  houses  in  Ohio  and  Indiana. 

College  Publicity  Film 

The  University  of  Tulsa  sponsored  a 
film  last  summer  to  be  shown  to  par- 
ents, prospective  students  and  other  in- 
terested groups.  Going  to  College  runs 
1200  feet  of  16mm.  Kodachrome  and 
was  produced  by  the  Filmcraft  Studio 
of  Tulsa,  under  the  direction  of  Robert 
D.  Mullin.  Bud  Wood  and  Jack  Howell 
were  the  cameramen  and  W.  E.  Morris 
was  the  narrator.  According  to  Mr. 
Mullin,  the  greatest  handicap  was  the 
lack  of  sufficient  power  to  light  interior 
scenes.  For  a  sequence  in  the  swimming 
pool,  it  was  necessary  to  shoot  at  eight 
frames  a  second.  This  film  will  be  dis- 
tributed publicly — see  the  Free  Film 
Reviews  for  details. 

Hartley  Reports 

Spectrum  Products  Company,  Inc.. 
sponsored  a  film  recently  produced  by 
Hartley  Productions,  entitled  The  Iso 
Color  Process.  This  400  foot  work 
makes  use  of  both  color  and  black  and 
white  film,  the  color  portion  being 
saved  for  the  climax  at  the  end.  The 
new  process  depicted  in  this  film  en- 
ables one  to  make  a  natural  color  print 
from  any  kind  of  separation  negative 
in  his  own  darkroom.  Spectrum  Prod- 
ucts are  distributing  the  film  on  the 
free  loan  basis — consult  the  Free  Films 
page  for  complete  data. 

Osteopathic  Movies 

Dr.  Ralph  W.  Rice,  ACL.  chairman 
of  the  Committee  on  Professional  Vis- 
ual Education  for  the  American  Osteo- 
pathic   Association,    recently    produced 


two  films  for  the  medical  profession. 
Athletic  Injuries,  two  reels  of  16mm. 
monochrome,  shows  the  correct  proce- 
dure for  treating  the  "Charley  horse" 
and  the  sprained  ankle,  two  of  the  most 
common  athletic  injuries.  Dr.  Wilbur 
Bohm,  physician  for  the  teams  of  Wash- 
ington State,  is  featured  in  this  film. 
Second  Lumbar  Lesion  Research  runs 
to  three  reels  of  Kodachrome  and  was 
prepared  for  the  Association's  research 
laboratories,  but  Dr.  Rice  writes  thai 
it  is  adaptable  for  presentation  to  sci- 
ence and  premedical  classes.  The  re- 
search was  conducted  by  Louisa  Burns, 
assisted  by  S.  R.  Daniels.  Both  movies 
are  booked  from  the  American  Osteo- 
pathic Association,  540  North  Michigan 
Avenue.  Chicago,  111. 

Civilian  Defense  Film 

As  his  contribution  to  the  defense 
corps,  organized  by  the  employees  of 
the  Brooklyn  Union  Gas  Company,  in 
New  York,  Edward  H.  Marsh,  ACL. 
has  produced  a  16mm.  color  movie 
showing  the  various  ways  in  which  to 
stop  a  burning  gas  main,  broken  by  an 
explosion.  Four  methods  are  described 
in  the  film,  each  one  applicable  under 
certain  conditions.  The  first  shows  a 
conical  plug  being  inserted  into  the 
broken  end  of  the  main.  Second,  if 
there  is  a  valve,  it  may  be  turned  off. 
The  third  way  is  to  place  a  rubber  bag 
in  the  opening  and  to  inflate  it  with  a 
pump.  Finally,  heavy  grease  can  be 
pumped  in,  to  plug  the  main.  At  the 
end  of  his  film,  Mr.  Marsh  shows  a 
newly  developed  method  of  quickly  re- 
pairing broken  mains  without  squaring 
off  the  jagged  edges. 

Marksmanship  Movies 

With  the  cooperation  of  the  National 
Rifle  Association.  Transfilm.  of  New 
York  City,  has  completed  Pistol  Bulls 
Eyes,  the  War  Department's  official 
training  film  in  the  use  of  small  fire- 
arms. This  two  reel  sound  film  is  being 
widely  circulated  among  schools  and 
police  departments  throughout  the 
country.  A  six  reel  series.  Fundamen- 
tals of  Rifle  Marksmanship,  filmed  with 
the  help  of  the  United  States  Marine 
Corps,  is  also  ready  for  release. 

News  from  Calvin 

Sponsored  by  the  Mercury  Corpora- 
tion, a  newr  16mm.  sound  film  in  color 
was  released  in  July  by  The  Calvin 
Company,  of  Kansas  City,  Mo.  This 
merchandising  movie  was  planned  to 
sell  the  Mercury  rapid  battery  charger, 
and  it  will  be  used  exclusively  within 
the  Mercury  organization.  The  Wings 
of  Mercury  was  directed  by  William  G. 
Wilson;  Harry  Philpott  was  the  cam- 
eraman. Robert  Levy  was  the  narrator 
and  Lloyd  Thompson  was  the  sound 
man. 


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84 


FEBRUARY    1942 


WHERE? 


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GEORGE     OLIVER     SMITH,     ACL 


BEFORE  I  begin  a  movie,  I  start  a 
scrapbook!  I  get  out  shears,  paste 
pot  and  files  of  newspapers  and  maga- 
zines and  start  clipping  and  pasting. 

"A  movie  maker  has  enough  to  do 
without  cutting  paper  dolls,"  you  will 
say.  But,  before  you  dispose  of  the 
idea  in  that  way,  let  me  tell  you  how 
useful  I  find  it. 

For  example,  suppose  that  I  am  con- 
sidering filming  a  winter  picture — snow 
scenes,  winter  sports  and  human  inter- 
est situations  connected  with  winter's 
frost  and  cold.  My  first  step  is  to  start 
cutting  out  winter  pictures  from  every 
magazine  or  newspaper  that  comes  to 
the  house.  I  collect  reproductions  of 
drawings  and  paintings,  as  well  as  of 
still  photographs,  for  what  I  want 
from  my  scrapbook  is  not  guidance  on 
exposure  or  focus,  but  ideas  for  scenes 
and  sequences  and  hints  on  composi- 
tion. So  everything  is  grist  for  my  mill. 

After  I  have  collected  all  the  mate- 
rial relating  to  winter  that  I  can  find  in 
the  house  and  all  that  I  can  "snitch" 
from  neighbors'  magazines,  I  sort  the 
pictures  and  commence  pasting  them 
in  my  loose  leaf  scrapbook.  On  blank 
pages  between  the  pictures,  I  write 
my  script.  Of  course,  in  the  process, 
many  of  the  pictures  that  I  have 
clipped,  sorted  and  pasted  so  indus- 
triously are  discarded.  But  what  re- 
mains is  invaluable  to  me. 

I  find  that  this  procedure  suggests 
ideas  for  scenes  that  would  never  have 
occurred  to  me  otherwise.  Often,  I  can 
imitate  the  subject  matter  in  a  particu- 
lar picture;  but,  even  more  often,  the 
picture   will    stimulate   my    imagination 


and  will  suggest  something  quite  dif- 
ferent. Sometimes,  I  can  follow  a  com- 
position exactly. 

Once  I  was  planning  an  autumn  reel 
— corn  shocks  and  hunting.  One  picture 
of  a  hunter  and  his  dog,  clipped  from 
an  advertisement,  gave  me  an  inspira- 
tion for  a  staged  sequence  that  turned 
out  to  be  the  gem  of  the  picture.  That 
picture  showed  the  proper,  yet  grace- 
ful, way  of  carrying  a  gun;  it  illustrated 
a  good  composition  of  a  hunter  and 
his  dog  and  suggested  a  background 
composition  of  corn  shocks,  receding 
into  the  distance,  that  gave  depth  and 
additional  interest.  After  all,  the  pic- 
ture had  been  worked  out  by  the  master 
minds  of  photography  and  art. 

So,  if  you  want  to  make  an  unusual 
picture  of  your  baby,  just  look  at  the 
pictures  of  babies  in  magazines  and 
newspapers,  not  even  neglecting  the 
advertisements.  Some  of  the  ideas,  you 
will  find,  are  pretty  fine,  and  many  of 
them  will  suggest  continuation  of  the 
situation  into  a  sequence.  Cut  out  the 
pictures  and  start  a  baby  scrapbook. 
Then  begin  to  plot  and  to  plan;  you 
will  find  that  the  pictures  will  give  you 
new  ideas  for  action,  viewpoints  and 
properties. 

To  enliven  films  of  high  school  activ- 
ities, one  can  get  good  ideas  from  the 
comic  strips  that  deal  with  the  life  of 
the  teen  age.  Based  on  such  material, 
I  started  a  film  of  my  younger  brother. 
He  is  a  freshman  in  high  school,  and 
this  is  a  story  of  his  first  "date."  His 
friends  are  all  going  to  be  in  the  pic- 
ture and  they  all  want  to  act.  All  are 
helping   to   collect   pictures   and   strips 


'Listen!  Not  another  foot  of  film  without  me  being  dressed  up,  or  Vm  a  widoiv!" 


MOVIE    MAKERS 


85 


A  Few 

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of  "goofy"  tricks  that  can  be  used  in 
the  movie. 

This  process  may  seem  to  be  like 
copying  and  may  even  smack  of  pla- 
giarism, but  I  find  that  there  is  still 
plenty  of  room  for  originality,  even  if 
the  ideas  of  somebody  else  have  helped 
me  to  form  my  own. 

Studying  still  pictures  of  quality 
helps  one  to  improve  the  composition 
of  his  own  movie  shots.  If  you  just  look 
at  good  pictures,  you  will  find  that  a 
certain  amount  of  feeling  for  composi- 
tion will  come  to  you.  If  you  study  good 
compositions  carefully  and  if  you  try 
to  equal  them,  you  will  learn  even 
more. 

I  look  at  good  color  pictures,  both 
paintings  and  reproductions  of  out- 
standing color  photographs  in  maga- 
zines. I  have  learned  much  about  color 
contrasts  and  color  compositions  and  I 
have  gotten  many  good  ideas  for  ar- 
rangement of  properties  in  color  scenes. 

My  mother's  hobby  is  poetry,  and 
she  edits  some  kind  of  "poet's  corner" 
in  a  daily  newspaper.  She  is  always 
complaining  about  the  poets  who  send 
in  material  and  who  write,  "Here  is  a 
poem  I  dashed  off  just  as  it  came  to 
me"  or  "I  never  put  any  effort  in  my 
poems — they  just  come  to  me."  She 
says  that  these  explanations  are  not 
necessary,  for  the  poems  speak  for 
themselves. 

Haste  is  also  self  evident  in  un- 
planned pictures,  and  usually  it  is  not 
necessary  to  explain,  "I  just  took  the 
pictures  of  things  as  they  showed  up — 
just  snapped  'em  anyway." 

I  hope  that,  with  a  little  more  plan- 
ning. I  may  be  able  to  take  pictures 
that  I  shall  not  have  to  explain  away. 
That  is  why  I  am  trying  in  every  way 
to  develop  some  plot  or  plan  and  that 
is  why  I  keep  scrapbooks  for  my 
movies. 


News  of  the  industry 

[Continued  from  page  70] 

be  had  by  writing  to  the  manufacturer 
of  these  adapters.  E.  Leitz.  Inc..  730 
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New  SDOt  A  moderately  priced, 
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86 


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In  March  Movie  Makers . . . 

•  Survey    of    today's    editing    equip- 
ment   for    the    movie    maker 

Here  is  a  picture  feature  that 
gives  you  the  high  lights  of 
the  editing  and  splicing  equip- 
ment available  today.  Splic- 
ers, rewinds  and  viewing  de- 
vices  are   covered. 

•  Amateur    movie    tricks    with    Holly- 
wood   results! 

Louis  McMahon,  ACL,  tells 
how  he  produced  the  most 
exciting  and  professional  ap- 
pearing tricks  in  The  Black 
Rider.  This  story  tells  the 
"inside"  of  some  of  the 
cleverest  photoplay  tricks  to 
be  filmed  by  an  amateur 
movie  maker. 

•  Movie   making   in   wartime    England 

War  hasn't  stopped  movie 
cameras  and  projectors  in 
England,  although  it  has 
brought  many  changes  to  film 
subject  matter.  Read  this 
amusing  story  of  cine  adven- 
tures in  an  England  at  war. 

•  The    wide    angle    lens 

It  has  uses  that  you  may  not 
suspect.  This  article  gives 
you  valuable  information 
about  the  wide  angle  lens, 
and  the  points  covered  are 
illustrated  by  special  pic- 
tures and  frame  enlargements 
...  a  typical  Movie  Makers 
staff   feature. 

All  in  March  MOVIE  MAKERS 

MOVIE  MAKERS 

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masks,  diffusing  screen,  light  stands 
and  light  stand  adapters.  Retail  price 
of  the  Photospot  is  §12.95. 

New  guide  American  Cinematog- 
rapher  Hand  Book  and 
Reference  Guide,  by  Jackson  J.  Rose, 
A.S.C.,  250  pages,  fourth  edition,  is  an 
up  to  date  and  informative  issue  of  this 
well  known  handbook  that  will  be  of 
great  value  to  movie  makers,  both  ama- 
teur and  professional.  It  contains  valu- 
able tables,  charts  and  other  material 
on  the  technical  aspects  of  taking  and 
showing  movies.  The  price  is  $3.50. 

Caspeco  tripod      A  new  "pan" 

and  tilt  head 
tripod  of  substantial  construction  is 
now  offered  by  Camera  Specialty  Com- 
pany, Inc.,  50  West  29th  Street,  New 
York  City.  This  new  camera  support  is 
of  all  steel  construction;  the  tilt  head 
is  controlled  and  locked  in  any  position 
by  a  removable  handle,  and  the  "pano- 
ram"  movement  may  be  locked  by 
means  of  a  small  lever.  The  tilt  head 
allows  the  camera  to  be  pointed  vertic- 
ally upward  and  downward.  The  tubu- 
lar legs  consist  of  two  sliding  sections, 
and  a  twist  of  the  outer  section  locks 
each  leg  at  the  height  desired.  Leg  tips 
are  reversible  for  rough  ground  or  for 
smooth  surfaces.  The  finish  is  gray 
enamel  and  polished  nickel  and  the 
price  is  $15.00. 

Castle  cartoons     A  new  series  of 

nine  amusing 
cartoons  has  been  released  by  Castle 
Films.  Inc.,  30  Rockefeller  Plaza.  New 
York  City.  These  films  are  available  in 
8mm.  silent  and  in  16mm.  silent  and 
sound.  The  cartoons,  all  modern,  are 
the  productions  of  the  famous  Terry- 
toon  animation  artists.  Titles  include 
Tom,  Tom  the  Piper's  Son,  The  Moth 
and  the  Spider,  The  Owl  and  the  Pussy- 
cat, The  Mouse  and  the  Lion  and  Farm- 
yard Whoopee. 

Film  cases     A   new  line   of  film 

storage  chests,  which 
combines  neat  appearance  with  utility, 
is  the  product  offered  by  the  Nega-File 
Company,  Easton,  Pa.  The  film  chests 
are  made  of  sycamore,  handsomely 
grained  and  fitted  with  brass  plated 
hardware,  including  lock  and  key.  Par- 
titions separate  each  reel,  with  or  with- 
out cans.  There  are  three  sizes — in 
8mm.,  two  chests,  one  holding  eight  200 
foot  reels  at  $2.95  and  one  holding 
eight  300  foot  reels  at  $3.25.  The  16mm. 
chest  holds  eight  400  foot  reels  and 
sells  for  $3.75. 

Filmo  library  has  8mm.    The  addi- 
tion of  an 
8  mm.  film  rental  service  to  the  Filmo- 
sound   Library   of   the   Bell    &    Howell 


Company.  1801  Larchmont  Avenue,  Chi- 
cago, will  be  an  item  of  great  interest 
to  8mm.  filmers.  The  initial  listing, 
which  appears  in  the  1942  edition  of 
the  Filmosound  catalog  of  Recreational 
Films,  includes  seventy  five  subjects 
with  a  wide  range  of  titles.  Both  black 
and  white  and  natural  color  subjects  are 
available.  Rental  charges  are  seventy 
five  cents  a  reel  for  monochrome  and 
$1.50  a  reel  for  color. 


film  spools ! 


Save  your 

TO  ENCOURAGE  the  conservation 
and  re  use  of  certain  metal  products 
connected  with  both  still  and  motion 
pictures,  the  Eastman  Kodak  Company 
has  set  up  a  program  for  the  return  of 
these  products,  as  follows: 

1.  Both  still  picture  and  cine  clubs 
are  urged  to  establish  a  bin  or  other 
collection  system  through  which  to 
gather  roll  film  spools,  Cine-Kodak 
reels  of  all  kinds  and  certain  other 
products. 

2.  Shipments  of  collections  of  these 
metal  products  should  be  made  to  the 
Kodak  Company  in  lots  weighing  from 
twenty  five  pounds  up.  Shipments  of 
from  twenty  five  to  forty  pounds  should 
be  made  by  prepaid  parcel  post,  for 
which  the  club  will  be  compensated. 
Shipments  over  forty  pounds  in  weight 
should  be  made  by  collect  freight.  The 
outside  of  each  package  should  state 
the  contents. 

3.  Address  all  shipments  to  Eastman 
Kodak  Company,  Kodak  Park.  Building 
64,  Rochester,  N.  Y.,  and  place  the 
name  and  address  of  the  club  clearly 
on  the  outside  of  the  package. 

4.  The  following  are  the  metal  items 
desired  and  the  allowance  rates  which 
are  offered  for  them:  Kodak  Roll  Film 
Spools — $5.00  a  thousand;  Kodak  Film 
Pack  Cases— $25.00  a  thousand;  Re- 
torts with  Spools  for  No.  135  Kodak 
Film — $20.00  a  thousand;  Aluminum 
Containers  for  No.  135  Kodak  Film  Re- 
torts— $10.00  a  thousand;  8mm.  and 
16mm.  light  metal  projection  reels,  all 
types  and  sizes — $.01  each;  8mm.  and 
16mm.  camera  spools,  depending  on 
size — $.05  each  and  up;  cine  camera 
spool  containers,  depending  on  size — 
$.005  each  and  up.  NOTE — shipments 
need  not  be  made  in  collected  batches 
of  1000  units,  but  simply  in  collections 
of  twenty  five  pounds  or  more. 

5.  Although  no  allowances  can  be 
made  for  metal  products  returned  by 
individual  camera  workers,  Movie 
Makers  urges  that  they  cooperate  with 
this  important  conservation  plan,  by 
turning  in  their  unneeded  supplies  of 
these  metal  products  to  their  local 
movie  or  still  photographic  clubs  or  to 
their  photographic  dealers. 


lAse'te  pAettif  <pAaud  ol  Uili  LooJz 


WE  thought  How  to  Make  Good  Movies 
was  a  good  book  when  we  first  brought 
it  out.  And  we've  tried  to  keep  it  an  equally 
good  book  throughout  its  several  modest  re- 
vises and  substantial  new  printings. 

Changes  have  been  made  in  copy  and 
illustrations  from  printing  to  printing  when- 
ever necessary.  Yet  the  bulk  of  the  mate- 
rial in  the  230  pages  is  essentially  as  it  was 
when  the  book  was  first  brought  out  —  almost 
125,000  copies  ago! 

At  the  left,  below,  are  a  few  of  the  comments 
of  its  many  readers.  These — if  by  chance  you 


have  yet  to  read  the  volume — should  recom- 
mend it  to  you  if  its  popularity  has  failed  to. 
And  if  you  do  have  a  copy  of  the  book,  suggest 
How  to  Make  Good  Movies  to  friends  who 
are  beginners  at  movie  making.  Consider  its 
value,  too,  as  a  movie  missionary  ...  as  the 
answer  to  that  familiar  query,  "Tell  me — 
are  movies  really  as  easy  as  some  people  say 
they  are?"  For  this  book  not  only  contains 
hundreds  upon  hundreds  of  ideas  for  the  man 
who  has  a  camera,  but  is  likewise  an  enter- 
tainingly written  and  readily  digestible  out- 
line of  movie  technic  and  movie  possibilities. 


EASTMAN     KODAK     COMPANY,     ROCHESTER,     N. 


it's  new!  It's  entertaining 

and  educational,  for  adults 

and  children  alike! 


YOU  haven't  enjoyed  half  the  fun  of  home  movie  entertain- 
ments until  you've  played  Moviquiz!  This  fascinating 
new  game  is  equally  suitable  for  small  family  gatherings  and 
for  your  largest  parties.  Here's  how  to  play  it: 

From  your  Filmo  dealer,  rent  or  buy  one  or  more  Bell  & 
Howell  Moviquiz  Films.  Get  the  Moviquiz  Kit  (25c)  for 
each  film.  It  contains  rules,  quiz  sheets,  and  answers.  Ask 
each  player  to  indicate  the  correct  answers  to  the  quiz  sheet 
questions.  Then  show  the  film,  in  which  the  correct  answers 
will  be  found.  Afterward,  grade  the  papers  and,  if  you  wish, 
award  prizes.  You've  never  seen  audiences  study  a  film  as 
intently  as  Moviquiz  players  do! 

B&H  Filmosound  Library  offers  scores  of  Moviquiz  Films  on 
a  great  variety  of  subjects.  For  details,  see  your  Filmo  dealer  or 
send  the  coupon.  Stage  a  Moviquiz  party  this  week-end! 


m     I 


Your  "Lending 

Library"  of 

FILMS 


A  near-by  Lending  Library  of  books  permits  you  to  read  many 
volumes  for  the  price  of  one.  In  the  same  way,  your  near-by  Filmo 
dealer's  Filmosound  Library  permits  you  to  entertain  at  home  with 
many  choice  films  for  the  price  of  one. 

Whatever  your  preferences,  you'll  find  the  films  you  want  among 
Filmosound  Library's  thousands:  late  Hollywood  photoplays  featur- 
ing favorite  stars;  side-splitting  short  comedies;  whimsical  cartoons, 
many  in  full  color;  travel  and  adventure  films  from  the  world's  far 
corners;  timely  newsreels;  films  on  sports  and  hobbies;  and  educa- 
tional reels  on  almost  any  subject. 

Three  new  catalogs,  one  each  on  recreational,  educational,  and 
religious  films,  contain  comprehensive  reviews  which  make  selection 
easy  and  sure.  Catalogs  are  free  to  16mm.  sound  projector  owners, 
2  5c  each  to  others.  Mark  the  coupon  for  the  ones  you  want. 


mi^mk 


mkjmkM*jatLMkjm* 


NEW    B&H    SERVICE    POLICY 

Your  Filmo  Camera  and  Projector  are  built  to  serve  you  for 
life  ...  if  they're  properly  cared  for.  To  help  you  give  them 
that  care  while  replacement  would  be  difficult,  we'll  keep 
them  in  top-notch  condition  at  moneysaving  flat  rates. 
Ask  your  dealer  for  the  details. 


I 


THERE'S  A 


MOVIE   NEED 

The  Bell  &  Howell  Filmo  line  is  com- 
plete— includes  8mm.  and  16mm.  cam- 
eras and  projectors,  and  16mm.  sound- 
film  projectors,  all  in  a  wide  range  of 
models,  from  the  simplest  to  the  most 
versatile.  For  all  these  major  units  there 
are  quality-built  accessories  for  every 
purpose,  however  advanced  and  spe- 
cialized. 


Filmo  Auto  Load.  Loads  with  pre-threaded 
cartridges  of  16mm.  color  or  black-and- 
white  film  which  can  be  interchanged  in 
mid-reel  without  fogging  a  single  frame. 
Four  speeds  plus  single-frame  exposures. 
WithF  2.7  lens,  $131.20. 


FOR  EVERY 


Filmo  "Companion"  8 

Palm-size  camera.  Makes 
superb  8mm.  movies  iafull 
color  or  black-and-white. 
"Drop-in"  loading — no 
sprockets  to  thread.  Life- 
time guarantee!  With  F  3.5 
lens,  only  $52.80. 


Filmo  8mm.  Projectors 

400-  or  500-watt  illumina- 
tion through  fast,F  1.6 
lens.  Metered  lubrication. 
"Floating  film"  protection. 
Fully  gear-driven,  with 
power  rewind.  Complete 
with  lens,  lamp,  and  case: 
200-foot  film  capacity, 
$116.25;  400-ft.,  $131.20. 


Filmosound  "Master."  A  superb,  16mm.  sound-film  projector,  ideal  for 
presenting  modern  "talkies"  in  your  home,  and  with  ample  capacity  to  serve 
in  your  club,  church,  or  school  auditorium.  Readily  portable.  Shows  silent 
films,  too.  Ask  your  dealerfor  his  trade-in  allowance  on  your  silent  projector. 
Bell  &  Howell  Company,  Chicago;  New  York;  Hollywood;  Washington, 
D.  C;  London.  Established  1907. 


SEND    COUPON 
for  Additional  Information 


BELL  &  HOWELL  COMPANY 
1843  Larchmont  Ave.,  Chicago,  111. 

Please  send  complete  details  about:  (  )  Movi- 
quiz Films;  (  )  8mm.  cameras;  (  )  8mm.  pro- 
jectors; (  )  16mm.  cameras;  (  )  Filmosounds; 
(  )  New  service  policy. 

Send  catalog  on:  (  )  recreational;  (  )  educa- 
tional; (  )  religious  films.  I  own  <  >  sound 
projector  of make. 

Name 


City. 


MOVIE 


Magazine   off   the   Amateur    Cinema    League,    Inc. 


*  l/aWi  Cr&Uinxj,  ^ooli 


•    Sur\c\     ol    typical    editing    equip- 
ment  now.    offered    m< 


•  Hail,  British  Columbia! 


•     How    the    l°-»]    Maxim  Award  win- 
ner   w  as    filmed 


MARCH.  I»42 

25« 


•  WIDE  ANGLE  LENSES 


•     \\  h.it     they     do     and     how      to     u»r 

them   in   filming  your  home, 


*  TRICKS   AND   STUNT  WORK 


•    An      amateur      ^*>  extern     producer 

outdoes    I  loll  v  wood  s    stunt    men. 


*  CANADIAN  CONTEST  OPENS 


Bttonal     Film     Hoard    at     t  anada 
announce;)    new     movie    compel 


EVERY  NEW  MEMBER    GETS 


The  ACL  Movie  Book 


IT'S  the  latest  book  on  amateur  movie  making!  .  .  .  It's  the 
biggest  book  about  the  subject  written  in  the  past  decade! 

311  PAGES— OVER  100  ILLUSTRATIONS-FRAME 
ENLARGEMENTS— PHOTOGRAPHS— DRAWINGS! 
INTERESTING  —  NEW  IDEAS  —  SIMPLY  WRIT- 
TEN— ACCURATE— COMPLETE— FULL    INDEX. 

Written  by  the  staff  of  the  Amateur  Cinema  League — com- 
piled from  their  experiences  in  serving  thousands  of  movie 
makers  for  over  a  decade,  this  book  represents  the  latest 
and  simplest  cine  technique.  It  is  based  on  what  amateurs 
do.  It  tells  you  what  you  want  to  know  because  it  comes 
from  the  needs  and  questions  of  over  21,000  League  mem- 
bers— every  one  a  real  movie  maker. 

The  new  book  is  packed  with  information  and  it 
is  simply  written  in  an  informal  style.  You  will 
find  it  fascinating,  and  you  may  be  sure  that  the 
information  is  correct  —  IT'S  AN  ACL  PUBLICA- 
TION. 

GET   THIS  NEW  BOOK  IN  ADDITION  TO  THE 

SERVICES  AND  PUBLICATIONS  LISTED  BELOW 

ALL  FOR  $5.00  A  YEAR 


*  MOVIE  MAKERS  .  .  .  Membership  includes  a  sub- 
scription to  Movie  Makers  monthly,  which  covers 
every  phase  of  amateur  and  practical  filming. 
Each  month  there  are  articles  for  the  beginner  as 
well  as  for  the  experienced  movie  maker. 

it  Technical  consulting  service.  .  .  Any  League  mem- 
ber can  put  his  movie  making  problems  up  to  the 
technical  consultant,  and  he  will  receive  prompt, 
detailed  service. 

it  Continuity  and  film  planning  service  .  .  .  The  con- 
tinuity consultant  will  aid  you  in  planning  specific 
films  by  offering  you  continuity  and  treatment 
suggestions,  ideas  on  editing  and  title  wordings. 

it  Club  service  .  .  .  Those  who  wish  to  organize  a 
club — either  for  the  production  of  films  or  for  the 
interchange  of  ideas  between  cameramen  —  will 
obtain  full  aid. 

it  Film  review  service  .  .  .  You  may  send  films  to  the 
League  for  criticism  and  review. 

it  Booklets  and  service  sheets  .  .  .  These  are  available 
to  all  members.  Booklets  are  sent  automatically, 


as  published,  to  members  who  request  them.  Book- 
lets now  current  are: 

Color  filming — 27  pages,  illustrated 

Featuring  the  family — 34  pages 

Lighting  personal  movies — 37  pages,  illus- 
trated 

Films  and  filters — 31  pages,  illustrated 

Building  a  Dual   Turntable — 30  pages,  illus- 
trated 

it  Equipment  service  .  .  .  The  League  aids  members 
in  locating  new  equipment. 

it  Film  Exchange  ...  A  member  may  list  his  films 
for  temporary  loan  among  other  members  and  will 
receive  in  return  a  list  of  films  offered  by  other 
members. 

it  Special  services  ...  in  two  important  fields  are 
available.  Through  the  Film  Review  Chart  a  mem- 
ber can  get  particularly  efficient  criticism  on  his 
reels.  By  means  of  the  Film  Treatment  Chart,-  a 
member  may  secure  individually  prepared  film 
plans  and  continuity  outlines.  These  charts  are 
supplied  on  request  to  members  only. 


AMATEUR  CINEMA  LEAGUE,   Inc. 

420  Lexington  Ave.  Date 

New  York.  N.  Y.,  U.  S.  A. 

I  wish  to  become  a  member  of  AMATEUR  CINEMA  LEAGUE,  Inc.  My  remittance  for  S5.00. 
made  payable  to  AMATEUR  CINEMA  LEAGUE.  Inc..  is  enclosed  in  payment  of  dues.  Of  this  amount, 
I  direct  that  $2  be  applied  to  a  year's  subscription  to  MOVIE  MAKERS.  (To  nonmembers,  subscrip- 
tion to  MOVIE  MAKERS  is  $3  in  the  United  States  and  possessions;  $3.50  in  Canada.  $3.50  in  other 
countries.) 

MEMBERSHIP    $5   a   year 

Name     

Street     

City State 

Mar.   '42 


GET    THESE    INDISPENSABLE 
FILMING  AIDS  AT  ONCE  FOR 


Five  dollars  a 


year 


Amateur  Cinema  League,  inc 


420  Lexington  Ave. 


New  York,  New  York,  U.  S.  A. 


FINE     PROJECTION  .  .  . 
FULL     FILM     PROTECTION.. 


ONE  of  many  reasons  why  Filmo  Projectors 
show  your  movies  at  their  brilliant  best  is 
the  precise  centering  of  the  lamp  filament  on 
the  optical  system  axis.  Without  this  exclusive 
B&H  construction,  filament  location  can  vary 
enough  to  cause  uneven  screen  illumination 
and  "color  fringing." 

One  of  the  many  features  by  which  Filmo 
8mm.  Projectors  protect  your  often  irreplace- 
able films  from  damage  is  the  positive,  jerk- 
free,  all-gear  drive  to  feed  and  take-up  spindles. 
Gear  drive  also  means  no  oily  belts  to  handle. 


Filmo  8mm.  Projector  with  200-foot  film  capacity,  complete 
with    case,   $116.25.  With   400-foot   film   capacity,  $131.20. 


Filmo  Projector  lamp  with  B&H  pre-focusing 
ring,  essential  to  getting  all  the  light  to  the  film 


Cover  removed  to  show 
positive,  quiet  gear- 
trains  which  eliminate 
spring  or  chain  belts  in 
Filmo  8mm.  Projectors 


The  Ideal  Films  for  Movie  Parties! 

It  takes  the  right  films  to  make  movie  parties  successful. 
And  you'll  find  just  the  films  you  need  for  arty  audience 
among  Filmosound  Library's  thousands. 

Do  you  want  late  Hollywood  photoplays  featuring 
your  friends'  favorite  stars?  Riotous  short  comedies? 
Whimsical  cartoons,  perhaps  in  full  color?  Vital  news- 
reels  of  the  moment?  Travel  and  adventure  films?  Reels 
on  almost  any  popular  sport?  Musicals  and  operatic 
subjects?  Educational  films?  We  have  them  all,  in  wide 
selections  ...  in  fine  physical  condition  ...  at  moderate 


awe. .. 


rentals. 


Three  new  catalogs,  one 
each  on  recreational,  edu- 
cational, and  religious 
films,  contain  objective  re- 
views which  make  selec- 
tion easy  and  sure.  Cata- 
logs are  free  to  16mm. 
sound  projector  owners, 
2  5c  each  to  others.  Send 
the  coupon  for  the  ones 
you  want. 


FILMOSOUND  "UTILITY."  A  superb,  16mm.  sound-film  projector, 
ideal  for  presenting  modern  "talkies"  in  your  home,  and  with 
ample  capacity  to  serve  in  your  club,  church,  or  school.  Readily 
portable.  Shows  silent  films,  too.  Ask  your  dealer  for  his  trade- 
in  allowance  on  your  silent  projector. 


PRECISION- 
MADE    BY 


MOVIQUIZ  FILMS 

A  Partial  List 
See  America  First 

Puerto  Rico. 
America's  High  Spots. 

Our  Colorful  World 

Land  of  the  Incas. 
Arctic  Thrills. 

History  and  Current  Events 

News  Parade  of  1941. 
Story  of  Our  Flag. 

Games  and  Sports 

Bowling  Aces. 
Ride  'Em,  Cowboy. 

Hobbies  and  Handicrafts 

Leather  Work. 
Clay  Pottery. 

North  American  Birds 

Humming  Bird. 
Marsh  Birds. 


BELL  &  HOWELL  COMPANY 

Chicago;  New  York;  Hollywood; 

Washington,  D.  C;  London 

Established  1907 


Whether  it's  a  family  gathering,  an  evening 
with  friends,  a  children's  party,  or  an  occa- 
sion at  your  church  or  club,  everyone  will 
have  a  wonderful  time  playing  Moviquiz. 
This  fascinating  and  educational  new  game 
combines  the  popular  appeals  of  two  great 
forms  of  entertainment— the  motion  picture 
and  the  radio  quiz  program. 

Staging  a  Moviquiz  party  is  easy.  Simply 
rent  or  buy  one  or  more  Bell  &  Howell  Movi- 
quiz Films  from  your  Filmo  dealer.  Get  the 
Moviquiz  Kit  (2  5c)  for  each  film.  It  con- 
tains rules,  quiz  sheets,  and  answers.  Ask 
each  player  to  indicate  the  correct  answers 
to  the  quiz  sheet  questions.  Then  show  the 
film,  in  which  the  answers  will  be  found. 
Afterward,  grade  the  papers  and,  if  you 
wish,  award  prizes  or  require  losers  to  en- 
tertain winners  in  amusing  ways. 

Moviquiz  Films  cover  a  diversity  of  inter- 
esting subjects,  some  of  which  are  listed 
here.  For  complete  details,  see  your  Filmo 
dealer  or  send  the  coupon. 


SEND    COUPON    FOR    COMPLETE    DETAILS 

BELL  &  HOWELL  COMPANY 

1843  Larchmont  Ave.,  Chicago,  111. 
Please  send  complete  details  about:   (  ) 
8mm.    projectors;    (  )    Moviquiz   Films; 
(  )  Filmosounds. 

Send  catalog  on:   (  )  recreational;  (  ) 
educational;   (  )   religious  films.   I   own 

S        j  projector  of make. 

sound 

Name 

Address 

Cify •^••••mms-k 


it 


500 


and 

ALL  EXPENSE 
TOURS 

See  below 


COME  to  CANADA 

HERE'S  A  MOVIE  CONTEST 

THAT'S  A  WONDERFUL  VACATION! 

Accept  this  invitation  from  out  friends 
and  allies  to  visit  their  glorious  vaca- 
tionlands,  rich  in  filming  possibilities. 
Enter  a  movie  contest  with  prizes 
worth  shooting  for! 

These  Provinces  Offer  Attractive  Choices 

BRITISH  COLUMBIA.  Beautiful  British  Columbia  offers,  as  a  prize  to  the  amateur 
whose  film  is  adjudged  the  best  on  that  spectacular  Province,  an  all-expense  tour 
in  1943  for  two  persons,  to  the  total  value  of  $500.  The  winner  will  have  the  choice 
of  several  enthralling  tours. 

QUEBEC.  This  old  French  Province  offers,  for  the  best  film,  an  all-expense  tour  of 
three  weeks  for  two  persons  in  1943.  The  tour  will  be  arranged  to  cover  the  highlights 
of  the  Province,  with  sojourns  in  the  cities  of  Montreal  and  Quebec. 
NEW  BRUNSWICK.  Amateurs  competing  for  the  16mm.  color  prize  in  this  Province 
will  have  incentives  in  the  form  of  one  or  two  possible  1943  prize  tours  of  three  weeks 
for  two  persons  in  this  scenic  Province.  One  of  these  will  embrace  general  scenic  and 
other  attractions,  while  the  other  will  offer  a  canoe  camping  trip  on  one  of  New 
Brunswick's   great  salmon   angling   streams. 

PRINCE  EDWARD  ISLAND.  This  attractive  island  Province  offers  a  prize  for  the 
best  film  in  the  form  of  an  all-expense  tour  for  four  weeks  during  the  summer  of 
1943,  for  the  prize  winner  and  husband  or  wife.  Salt  water  bathing  and  delightful 
trips  through  the  scenic  countryside. 

CONTEST  RULES- READ  CAREFULLY 


HHBHH 


BRITISH  COLUMBIA 


QUEBEC 


NEW  BRUNSWICK 


PRINCE  EDWARD  ISLAND 


1.  The  contest  will  be  open  to  all  amateur 
movie  makers  residing  in  the  United  States. 
It  is  not  open  to  amateur  movie  makers  resid- 
ing in  the  territories  and  possessions  of  the 
United  States,  nor  to  American  citizens  resid- 
ing in  Canada.  It  is  not  open  to  anybody  en- 
gaged in  the  theatrical  production  of  motion 
pictures. 

2.  The  contest  will  extend  from  March  1st  to 
5  P.  M.  (Chicago  war  time),  November  15th, 
1942. 

3.  Entries  may  be  made  on  16mm.  silent  film 
only,  but  the  film  may  be  either  black  and 
white  or  color. 

4.  Entries  must  be  at  least  400  feet  in  length, 
and  at  least  two  thirds  of  the  completed  pic- 
ture must  consist  of  scenes  taken  during  1942 
within  the  borders  of  one  of  the  four  cooper- 
ating Provinces  of  Canada  (British  Columbia, 
Quebec,  New  Brunswick,  and  Prince  Edward 
Island)  or  of  titles  referring  to  these  scenes. 
The  remaining  footage  may  consist  of  any  ap- 
propriate material,  such  as  scenes  of  travel 
to  or  from  Canada  or  scenes  of  other  Cana- 
dian Provinces.  Thus,  to  compete  in  this  con- 
test, an  amateur  movie  maker  must  select  one 
of  the  four  cooperating  Canadian  Provinces 
as  his  principal  subject  matter  and  to  this 
Province  he  must  devote  two  thirds  of  the  foot- 
age of  the  finished  picture.  The  remaining  film 
footage  may  be  such  as  best  suits  the  particular 
continuity  or  film  idea  that  the  contestant  has 
chosen. 

5.  Competitors  may  choose  for  the  subject  of 
their  films  any  scenic,  geographical,  industrial, 
or  community  topic,  or  any  recreation  or  sport, 
so  long  as  the  subject  matter  relates  to  the 
competitor's  own  travels  within  the  borders 
of  the  one  of  the  four  Provinces  that  he  has 
selected. 

6.  Entries  will  be  judged  upon  the  basis  of 
good  movie  technique,  film  continuity,  and  in- 
terest of  subject  matter. 

7.  The  cinematography  of  each  film  must  be 
the  work  of  the  contestant  who  enters  that 
picture,  except  that  titles  may  be  the  work  of 
professional  or  commercial  studios. 

8.  Contestants  may  enter  films  of  more  than 
one  Province,  providing  that  each  film  meets 
all  the   requirements  of  the  contest  rules. 

9.  Entries  must  be  shipped,  prepaid  and  prefer- 
ably insured,  to:  National  Film  Board  of  Can- 


ada Contest,  care  Canadian  Trade  Commis- 
sioner, Tribune  Tower  Building,  435  North 
Michigan  Avenue,  Chicago,  Illinois.  U.S.A., 
and  must  be  in  the  offices  of  that  company  by 
5:00  P.  M.  (Chicago  war  time)  November  15, 
1942. 

10.  The  board  of  judges,  whose  decisions 
shall  be  final,  will  be  composed  of  the  follow- 
ing: John  Grierson,  Canadian  Government 
Film  Commissioner;  Alfred  Hitchcock,  well 
known  Hollywood  director;  Arthur  L.  Gale, 
editor  of   Movie   Makers. 

11.  All  entries  will  remain  the  property  of  the 
contestants,  but  the  National  Film  Board  re- 
serves the  right  to  make  copies  of  all  prize 
winning  films  and  to  arrange  for  the  use  and 
distribution  of  such  copies,  in  any  manner 
that  it  sees  fit. 

12.  Entries  will  be  returned  prepaid  and  in- 
sured by  the  National  Film  Board,  either  by 
express  or  parcel  post,  as  soon  as  possible  fol- 
lowing the  judging  of  the  contest,  and  the 
prize  winning  films  and  their  makers  will  be 
announced  publicly  on  December  31.  1942. 

13.  Phonograph  records  for  musical  accom- 
paniment cannot  be  received.  Narrations  or 
written  commentaries  cannot  be  read  in  con- 
nection with  the  screenings  for  the  judges  and 
therefore  will  not  be  considered.  Sound  on 
film  pictures  are  not  eligible,  but  any  entry 
may  be  taken  at  a  camera  speed  of  twenty- 
four  frames  a  second  for  post  synchronization 
after  the  contest. 

14.  The  five  awards  will  consist  of  one  first 
prize  of  $500.00  and  four  all  expense  tours 
within  Canada  during  the  year  1943. 

One  prize  will  be  granted  by  each  of  the 
four  co-operating  Provinces  for  the  best  film 
about  that  Province,  the  prize  consisting  of  a 
free  tour  for  two  persons  within  that  Province. 
There  will  be.  in  addition,  a  cash  prize  of 
$500.00,  given  by  the  National  Film  Board,  to 
the  film  considered  by  the  judges  to  be  the 
best  of  the  four  films  winning  the  free  tours  of- 
fered by  the  Provinces  concerned. 

In  all  'Cases,  the  prize  tour  starts  within  each 
particular  Province.  Neither  the  Provinces  of 
Canada  nor  the  National  Film  Board  can 
undertake  to  pay  the  expenses  of  the  prize 
winner  and  his  companion  from  the  United 
States  to  the  point  of  departure  nor  from  the 
point  of  departure  to  the  United  States  on  the 
return  trip. 


DECIDE  NOW!  WRITE  FOR  DESCRIPTIVE  BROCHURE  TO 


NATIONAL  FILM  BOARD  OF  CANADA 


OTTAWA 
CANADA 


93 


MOVIE     MAKERS 


The    Magazine    of    the    Amateur   Cinema    League,    Inc. 


Volume  17 


March,  1942 


Number  3 


Closeups 98 

War  needs,  editorial 99 

Hail,  British  Columbia! Leo  J.  Heffernan,  ACL  100 

What  England  films  in  war Eric   F.   Impey  102 

What  wide  angle  lenses  do Russell   C.  Holslag,    ACL  103 

Your  editing  tools 104 

How  we  made  "The  Black  Rider" Louis  McMahon,  ACL  106 

Practical  films Gordon    L.    Hough  108 

Amateur    clubs James   W.  Moore,  ACL  109 

News  of  the  industry Russell   C.  Holslag,   ACL  112 

Canadian  contest  opens 113 

The  clinic Kenneth  F.  Space,  ACL  114 

A  bookcase  editing  desk Borden   R.   Putnam,   ACL  116 

The  new  ACL  leader 123 

A  three  family  film 125 

Films  you'll  want  to   show 129 

Free  film  reviews ,,....,..  130 


F.  P.  G. 


ARTHUR     L.     GALE, 

Editor 


RUSSELL  C.  HOLSLAG 

Advertising  Manager 

JAMES  W.  MOORE 
Continuity  Editor 

KENNETH  F.  SPACE 

Technical  Editor 

ALEXANDER  de  CANEDO 
Art  Editor 


is  published  monthly  in  New  York,  N.  Y..  by  the  Amateur  Cinema  League,  Inc. 

Subscription  rate  $3.00  a  year  postpaid  (Canada  and  Foreign  $3.50);  to  members  of  the 
Amateur  Cinema  League,  Inc.,  $2.00  a  year,  postpaid;  single  copies  25c  (in  U.  S.  A.).  On 
sale  at  photographic  dealers  everywhere.  Entered  as  second  class  matter,  August  3,  1927, 
at  the  Post  Office  at  New  York,  N.  Y.,  under  act  of  March  3.  1879.  Copyright,  1942,  by  the 
Amateur  Cinema  League,  Inc.  Title  registered  at  United  States  Patent  Office.  Successor  to 
Amateur  Movie  Makers,  title  registered  at  United  States  Patent  Office.  Editorial  and 
Publication  Office:  420  Lexington  Avenue,  New  York,  N.  Y.,  U.  S.  A.  Telephone  MOhawk 
4-0270.  Advertising  rates  on  application.  Forms  close  on  10th  of  preceding  month. 

CHANGES  OF  ADDRESS:  A  request  for  a  change  of  address  must  reach  us  at  least  by 
the  twelfth  of  the  month  preceding  the  publication  of  the  number  of  Movie  Makers  with 
which  it  is  to  take  effect.  Duplicate  copies  cannot  be  sent  when  a  number  of  the  magazine 
does  not  reach  you  because  of  failure  to  send  in  this  advance  notice.  The  Post  Office  will 
not  forward  copies  unless  extra  postage  is  provided  by  you. 


\ 


Simple  to  operate 


That's  Why  Ampro  Sound 
Projectors  Are  So  Widely 

Used  in  Industrial 
and  Educational  Training 

This  illustration  shows  how  simple 
it  is  to  thread  Ampro  Projectors.  This 
feature  and  many  other  exclusive  ad- 
vantages also  ex- 
plains why  thou- 
sands of  Ampro  si- 
lent and  sound  pro- 
jectors are  in  use  in 
industry,  education, 
home,  U.S.  Govern- 
ment Departments, 
U.S.  Armed  Forces 
—  helpi  ng  in  the 
great  battle  to  pre- 
pare this  country  for 
victory. 


MODEL 


A  Complete  Line  of  Projectors 

The  Ampro  line 
includes:  8mm. 
and  16mm.  silent 
projectors, 
16mm.  sound-on- 
film  projectors 
and  silent  projec- 
\  tors  convertible 
ito  sound  —  in 
models  adapted  to 
a  variety  of  needs. 
Send  coupon  for 
full  details. 


MOVIE    MAKERS 


95 


BOTH  IN  ONE  FILM! 

CRSTli  FILMS'  SCOoPSt**-"-- **» 

Bombing  of 

PEARL  HARBOR! 


?? 


in 


entry  into  *ewarJt^^erto  possess  for 
spot  for  every  projector  o 
now  and  posterity! 


u 


Burning  of 

S.S.NORMANDIE! 

T^  ^ATF  of  $60,000,000  luxury 
TRAGIC  FATE  ot^D  ^  ^  ^  ran 

liner!  On-the-spot  ftlmmg°  nurses 

its  shocking  ^^es!  Escapes! 
at  rescue  J^!  Batth  g       ^  tQ  own  and 
Rescue  of  injured, 
show  this  amazing  film. 

ftLL  Castle  8mm.  filmsareaibu 

I  THIS  HANDY  ORDERFORMJOjnMOM-— 


CASTLE  FljLMS 


^|^^S5SS:— -- — 


■---""""""""""  ™r  pfarl  Harbor  and 

»-  -end  ^JSSiSPS^"  -  £->  -  -  ^ 

BURNING  OF  S.S.  NORMAN 
length  indicated. 

.  .  $1-75  D 

.  .  $5.50  D 

.  .  $2.75  Q 

.  .  $8.75  D 


50  ft.,  8mm.    ■  ■ 

180  ft.,  8mm.    ■ 

100  ft.,  16mm.  - 

360  ft.,  16  mm. 
350  ft.,  16mm. 
Sound-On-Film  . 


$17.50  D 

MM-3 


REVERE  MODEL 
CAMERA 


•88M 


is  preferred  by  experienced  photog- 
raphers who  want  movies  of  highest 
quality.  A  precision-built  mechanism 
with  positive  speed  governor  con- 
trol and  high-ratio  duplex  shuttle 
film  movement,  a  fast  lens,  a  strong 
spring  motor,  an  automatic  film-loop 
sprocket,  and  other  advanced  fea- 
tures make  the  Revere  "88"  the 
outstanding  value  in  the  8  mm  field. 
Eastman-licensed  spool  and  spindles 
insure  correct  loading  of  double- 
eight  film.  5  speeds,  8,  12,  16,  24, 
and  32  frames  per  second  permit 
ultra-fast,  normal  or  slow-motion 
movies,  and  add  variety  to  your 
pictures.  Complete  with  Wollensak 
F    3.5    lens,    $38.50. 


feWfiW^W"  .  ■       is  the  ab°ve 

an  •^•a^portant  ,j^Z       V>V 

esP5.C'  making  of  *»W 


define 
(precis*0*1 


a^c 


XefiS 
getting 


The  mounting  tor  the  lens  of 
each  Revere  Camera  is  especial- 
ly designed  to  insure  absolute 
rigidity  and  perfect  alignment 
with  the  aperture  of  the  film 
gate.  This  advanced  design, 
plus  Revere's  automatic  film- 
loop  sprocket  (which  eliminates 
tugging  on  the  film  gate)  com- 
bine to  give  you  perfect,  sharp- 
ly focused  movies. 


cJhe  Lrreciston-ujuut 


CAMERA 

TAKES   SUCH    FINE   MOVIES 

The  sharpness  and  steadiness  of  Revere-made  8  mm  movies 
are  the  result  of  advanced  design,  rigid  maintenance  of  quality, 
and  high  standards  of  precision.  Each  lens  and  each  lens  seat  in  a 
Revere  Camera  is  microscopically  tested  for  accuracy,  and  the 
complete  assembly  is  "custom-fitted"  to  the  camera. 

Revere  8  mm  Projectors  reflect  these  same  precision  standards. 

Because  of  the  economies  of  large-scale 
production,  Revere  Cameras  and  Pro- 
jectors cost  no  more  than  equipment 
which  lacks  their  modern  features  and 
fine  workmanship.  Sold  by  leading 
dealers  everywhere.  Write  for  litera- 
ture. Revere  Camera  Company,  Dept. 
3 MM,  320  E.  21st  St.,  Chicago,  Illinois. 


REVERE  "80"  PROJECTOR 

Improve  the  quality  of  your  home  movies 
with  this  powerful,  smooth-running,  easily- 
threaded  8  mm  projector!  Its  many  ad- 
vanced features  include  heavy-duty  AC- 
DC  motor,  fully  enclosed  precision 
mechanism  with  power  rewind  (no  belts 
in  the  Revere),  double  blower  cooling 
system,  radio  interference  eliminator, 
and  clutch  for  still  projection.  Complete 
with  500  watt  lamp,  F  1.6  lens  and  one 
300-ft.    reel,     $75. OO. 


REVERE  "85"  PROJECTOR 

Same  as  model  80,  plus  micro-tilt,  duo- 
shield  light  diffuser,  beam  threading 
light,  and  carrying  case.  Complete  with 
500  watt  lamp,  F  1.6  lens,  one  300-ft.  reel, 
and    case,    S89.50. 


Revere 


Revere  "99"  Camera 

has,  in  addition  to  the 
basic  features  of  the  model 
88,  an  extra  optical  view 
finder  for  telephoto  lenses, 
and  a  rotating  turret  head 
for  3  screw-type  lenses, 
including  telephoto.  Com- 
plete with  one  Wollensak 
F    2.5     lens,     $77.50. 


MOVIE    MAKERS 


97 


RUSSIA  STOPS  HITLER! 


^ 


• 


SrARTUNG  MO  WES  FOR 
EVERY  PROJECTOR  OWNER! 


mm. 


m  p 


mm. 


FIRST!  FILMED  UNDER  FIRE! 


HITLER'S  TIMETABLE  UPSET  by  Russian  fighting 
fury!  Gripping  battle  movies  of  Russia's  miracle 
winter  blitz!  See  roaring  tanks,  blazing  artillery 
and  air  attacks,  blood-chilling  bayonet  charges  by 
fearless  Soviet  troops!  See  shattered,  shell-gutted 
Panzer  divisions!  Freezing  Nazi  prisoners  cap- 
tured! Own  this  astounding  movie  for  now  and  pos- 
terity! Costs  less  than  unexposed  film! 

All  Castle  IB  MM  films  are  processed  by  VAP-0-RATE.  All  Castle  8  MM  are  also  treated. 


CASTLE 
FILMS 


I   Please  send  me  Castle  Films'  "RUSSIA 
I   STOPS  HITLER"  in  the  size  and  edition 
checked. 


Name. 


Address. 
City 


0     ■ 


State. 


.MM3-A 


8  mm. 

Headline    $■!    ^r  /r 
50  Feet          I./3 

Complete  $c    Cf\ 
180  Feet       J.JW 

16  mm. 

Headline!^    "T  C 
100  Feet      X./  D 

Complete  $JJ    "7 C 
360  Feet      Q  ./ D 

Sound      Sl-y   Cf\ 

350  Feet    I/.3V 

RCA  CLOG.  NEW  YORK, 


FIELD  BLDG.  CHICAGO. 


RUSS  BLDG.  SAN  FRANCISCO      | 


.J 


93 


MARCH    1942 


CHffl 


SURVEY 

by  a  Leading 
Photographic  Magazine 


!— — nf  *%> 


Again  Proves 

OVERWHELMING 
POPULARITY    OF 


IDWE 


(Reg.  U.  S.  Pat.  Off.) 


SCREENS 


What  is  probably  the  most  extensive, 
unbiased  survey  ever  made  of  the 
buying  habits  of  camera  fans  was 
recently  completed  by  a  prominent, 
large-circulation  photographic  maga- 
zine. Thousands  of  readers  were  asked 
which  makes  of  screens  they  owned. 
The  replies  showed: 

THESE  READERS  OWN  MORE 
DA-LITE  SCREENS  THAN  ALL 
OTHER   MAKES   COMBINED 

You,  too,  will  want  the  superior  per- 
formance that  only  a  Da-Lite  Screen 
can  give — the  brighter,  sharper  pic- 
tures of  Da-Lite's  specially  processed 
Glass-Beaded  surface — the  easier  op- 
eration of  Da-Lite's  simpler,  more 
efficient  mountings — and  the  longer 
service  of  Da-Lite's  sturdier  construc- 
tion. Don't  accept  imitations!  Ask  your 
dealer  for  a  genuine  DA  -  LITE  — 
America's  most  popular  screen! 
Write  for  literature! 

DA-LITE    SCREEN    CO.,    INC. 

Dept.  3MM,   2721    No.   Crawford   Ave.,   Chicago,    III. 


33  l/eate 


Closeups — What   filmers   are  doing 


Mrs.  Louise  C.  Mann,  ACL,  in  a 
scene    in    her    picture   of   Alaska 

I  o  Mrs.  Louise  C.  Mann,  ACL,  of  New 
York  City,  goes  the  honor  of  being  the 
first  of  hundreds  of  patriotic  personal 
filmers  to  register  with  the  Amateur 
Cinema  League  their  willingness  to 
turn  their  cinematic  skill  and  equip- 
ment to  the  service  of  the  government. 
A  veteran  traveler,  Mrs.  Mann  is  seen 
in  our  illustration  in  the  fur  parka  of 
the  Alaskan  Indian,  as  pictured  in  her 
own  thoroughgoing  study  of  that  far 
northern  territory. 

Dr.  Otto  J.  Seifert.  ACL,  of  New  Ulm, 
Minn.,  is  in  the  market  for  16mm.  color 
footage  of  Cuba,  New  Orleans,  Mexico 
and  Yellowstone  National  Park.  If  you 
have  extra  scenes  that  you  would  care 
to  part  with,  here's  your  chance  for  a 
friendly  sale  or  exchange.  Address  your 
offers  directly  to  Dr.  Seifert. 

I  f  you  are  eager  to  aid  the  cause  of 
Civilian  Defense  with  your  camera — 
but  don't  know  where  to  turn — George 
Vidor.  in  New  York  City,  is  the  man 
you  want  to  see.  As  senior  warden  of 
A.R.P.  Post  6.  Sector  E,  in  Manhattan. 
Mr.  Vidor  has  ideas  on  defense  film 
production  but  no  camera  with  which 
to  film  them.  He  may  be  reached  at  the 
post  address,  159  West  80th  Street,  New 
York  City. 

During  the  late  First  Army  maneuvers 
in  the  Carolinas,  Lieutenant  Robert  M. 
Pursel,  ACL.  of  the  30th  Ordnance 
Company,  was  one  officer  who  saw  to  it 
that  his  battalion  had  some  entertain- 
ment in  the  quiet  hours  of  the  evening. 
Using  an  Army  truck  with  a  110  volt 
generator,  he  simply  set  up  his  own 
16mm.  projector  under  the  stars  and 
ran  off  more  than  2800  feet  of  his  per- 
sonal travel  films,  taken  in  Venezuela 
and  the  Central  Americas.  During  the 
davtime.  as  opportunity  offered,  he 
managed  to  shoot  a  thousand  feet  of 
film,  recording  the  war  games. 

Filmers  in  Florida  who  are  interested 
in  getting  some  real  New  England  snow 
scenes  are  invited  to  get  in  touch  with 


Hartman  D.  Colton,  ACL,  53  Sunapee 
Street,  Springfield,  Mass.,  who  is  in  the 
"swap"  market  for  a  series  of  views  of 
Floridan  industries.  Mr.  Colton's  par- 
ticular interests  are  in  the  citrus  and 
sponge  industries,  the  cypress  gardens, 
scenes  about  Miami  and  the  life  of  the 
colorful  Seminole  Indians. 

Movie  makers  in  this  country  who  are 
aiding  the  war  effort  have  got  to  go 
some  to  catch  up  with  the  record  set 
by  C.  V.  Thomas,  ACL,  and  the  Dur- 
ban Amateur  Cine  Club,  in  Natal.  South 
Africa.  In  a  recent  report  to  League 
headquarters,  Mr.  Thomas  states  that 
the  club  has  already  collected  for  war 
charities  more  than  a  thousand  dollars 
from  subscription  screenings  of  ama- 
teur films,  besides  giving  countless  free 
shows  in  military  hospitals.  Another  and 
unique  filming  activity  undertaken  by 
a  group  from  the  Durban  club  has  been 
the  compilation  of  a  large  number  of 
individual  ten  second  shots  of  wives, 
relatives  and  sweethearts  of  South 
African  troops  fighting  on  the  Libyan 
front.  Charging  fifty  cents  a  "take,"  the 
producers  collected  over  five  hundred 
dollars,  which,  save  for  the  cost  of  the 
film  stock,  was  expended  on  comforts 
for  the  men.  With  this  shipment,  they 
sent,  as  well,  the  completed  film  as  a 
personal  greeting  from  the  folks  back 
home. 

Oymbols  of  Hospitality  is  the  heart 
warming  title  which  the  Reverend  Fred- 
erick W.  Smith.  ACL,  of  Waterville, 
Maine,  has  given  to  his  400  foot  study 
of  New  England  doorways.  Although 
not  essentially  a  cinematic  subject, 
these  emblems  of  an  older  age  have  a 
strange  charm  in  their  gracious  mes- 
sage of  classic  beauty  and  tradition. 
Mr.  Smith's  camera  collection  of  door- 
ways and  related  architectural  features 
ranges  through  Portland,  Brunswick, 
Bath.  Augusta.  Wiscasset,  Thomaston 
and  Camden,  in  Maine;  Andover,  Low- 
ell, Chelmsford.  Stillwater,  Littleton, 
Bradford  and  Merrimac.  in  Massachu- 
setts; and  Portsmouth,  in  New  Hamp- 
shire. 

Shot  in  "Symbols  of  Hospitality," 
film    by    Frederick    W.    Smith,    ACL 


99 


THE  response  to  the  service  questionnaire  of  the 
Amateur  Cinema  League  has  been  good.  Movie 
makers  want  to  aid  in  the  country's  war  effort.  The 
larger  registration,  the  better.  If  you  have  not  sent  in 
your  questionnaire,  do  not  hesitate.  Give  the  League 
a  statement  of  what  you  can  do,  if  you  are  called  upon 
to  do  it. 

Many  clubs  and  individual  League  members  are  serv- 
ing their  communities  already  by  making  films  that 
are  needed  in  local  war  activities.  The  League  wants 
reports  of  these  instances,  wherever  they  occur.  If  you 
have  done  this  kind  of  filming  and  have  not  reported 
the  details  to  the  Amateur  Cinema  League,  please  let 
us  know,  so  that  our  files  will  be  as  complete  as  pos- 
sible. 

League  headquarters  are  in  discussions  with  several 
agencies  of  our  government  concerning  assignments 
that  may  come  to  us  for  specific  war  work  in  connec- 
tion with  personal  movies.  As  soon  as  the  discussions 
come  to  something  definite,  the  news  will  be  carried  in 
Movie  Makers. 

/our  local  dealer  will  tell  you  how  to  help  him  to 
help  the  amateur  movie  industry  in  saving  camera 
spools,  light  metal  projection  reels  and  other  movie 
and  photographic  containers  and  spools.  At  a  time 
when  saving  is  imperative  for  war  purposes,  it  is  the 
duty  of  every  user  of  these  supplies  to  see  that  they 
are  used  many  times  and  that  they  are  not  thrown 


WAR  NEEDS 

away.  By  establishing  a  collection  bin,  cine  clubs  can 
make  their  own  contribution  to  this  saving  plan  and, 
at  the  same  time,  make  a  handsome  profit  for  the  club 
treasury.  The  procedure  was  outlined  in  February 
Movie  Makers,  on  page  86.  Admittedly,  it  is  incon- 
venient to  put  forth  this  effort,  because  we  have  be- 
come accustomed  to  a  land  of  plenty.  However,  con- 
ditions have  changed  in  the  United  States  since 
December  7,  and  we  must  all  determine  to  do  what- 
ever we  can  do,  each  in  his  own  personal  fashion,  to 
conserve  necessary  material  for  war  use.  Certainly,  it 
is  important  to  us  all,  as  movie  makers,  to  make  cer- 
tain, as  far  as  we  can  do  so,  that  any  shortage  in  these 
minor — but  vital — items  does  not  result  from  our  un- 
willingness to  bother  about  saving  them. 

I  his  war  has  made  a  field  day  for  the  cine  "gad- 
geteer."  The  shortage  of  equipment  of  all  kinds  which 
has  been  plentifully  at  hand  in  our  normal  life  in  the 
past  has  made  the  home  designer  and  maker  an  im- 
portant person  in  the  industrial  picture.  It  was  hu- 
morously said  of  a  great  motor  car  builder  that  he 
"took  a  little  spool  and  an  old  coal  hod"  and  did  won- 
ders with  them.  That  is  exactly  what  a  lot  of  us  will 
have  to  do  now  in  the  field  of  our  hobbies.  Look  over 
your  junk  collection  in  the  attic,  or  in  the  urban 
equivalent  of  an  attic,  and  see  what  you  can  make 
from  it  to  serve  your  filming.  Let  us  know  what  you 
make.  We  want  Movie  Makers  to  serve  for  the  ex- 
change of  ideas  among  movie  amateurs  about  this  very 
necessary  activity. 


The  AMATEUR  CINEMA  LEAGUE,  Inc. 

whose  voice  is  Movie  Makers,  is  the  international  or- 
ganization of  movie  amateurs,  founded  in  1926  and 
now  serving  filmers  in  many  countries.  The  League's 
consulting  services  advise  amateurs  on  plan  and  execu- 
tion of  their  films,  both  as  to  cinematographic  tech- 
nique and  continuity.  It  serves  amateur  motion  picture 


clubs  in  organization,  conduct  and  program  and  pro- 
vides for  them  a  film  exchange.  It  issues  booklets.  It 
maintains  various  special  services  for  members.  The 
League  completely  owns  and  operates  Movie  Makers. 
The  directors  listed  below  are  a  sufficient  warrant  of 
the  high  type  of  our  association.  Your  membership 
is  invited.  Five  dollars  a  year. 


Hiram    Percy    Maxim,    Founder 

DIRECTORS     OF    THE     LEAGUE 


STEPHEN  F.  VOORHEES,  President 

JOHN  V.  HANSEN,   Vice  President 

ETHELBERT     WARFIELD,     Treasurer 

C.     R.    DOOLEY 

MRS.    L.    S.   GALVIN 

H.  EARL  HOOVER    . 

HAROLD   E.   B.   SPEIGHT 

FLOYD    L.    VANDERPOEL 

T.  A.  WILLARD 

ROY   W.    WINTON,    Managing  Director 


•    New  York  City 

Washington,  D.  C. 

New  York  City 

New  York  City 

Lima,    Ohio 

Chicago,  111. 

Ithaca,  N.  Y. 

Litchfield,  Conn. 

Beverly  Hills,  Calif. 

.     New  York  City 


Address   all    inquiries   to 

AMATEUR  CINEMA  LEAGUE,  INC. 

420  LEXINGTON  AVE..  NEW  YORK  CITY.  U.S.A. 

Amateur   Cinema    League   offices   are   open   from 
9:00  A.M.  to  5:00  P.M.,   Mondays  through   Fridays 


16mm.  scenes  by  Leo 
J.   Heffernan,  AQh 


•  Typical  subtitle  and 
the  girl  and  the  "Moun- 
tie"  in  "Hail,  British 
Columbia!" 


100 


How  Maxim  Award  winner 
was  planned  and  filmed 


•  Heraldic  device  and  t<vo 
of  the  scenes  in  the  log- 
ging   sequence. 


HAIL,  BRITISH 


UNQUESTIONABLY,  it  was  an  unusually  happy  inspiration 
last  year  which  turned  my  thoughts  toward  British  Columbia 
as  a  vacation  land.  Early  in  July,  I  made  the  train  journey  from 
New  York  City  to  Vancouver,  and  this  was  the  beginning  of  a 
trail  which  led  eventually  to  the  end  of  a  movie  maker's  rainbow, 
for,  during  my  travels,  Hail,  British  Columbia!  was  made.  When 
I  was  filming  it,  I  scarcely  dared  to  dream  that  it  would  be  chosen 
for  the  Hiram  Percy  Maxim  Award. 

At  Vancouver,  I  took  the  ship  Princess  Elizabeth  which,  four 
hours  later,  steamed  into  the  Harbour  of  Victoria  on  Vancouver 
Island,  and,  in  a  quarter  of  an  hour,  I  was  shooting  Kodachrome 
movies  of  the  baskets  of  colorful  flowers  which  hang  from  the 
electric  light  poles  in  the  capital  of  British  Columbia — after  which 
I  made  shots  of  the  magnificent  Empress  Hotel  and  its  famous 
gardens. 

On  the  other  side  of  the  tiny  harbor,  I  filmed  the  Parliament 
Buildings,  and  it  was  there  that  I  stumbled  upon  the  offices  of  the 
Official  Travel  Service,  a  fortunate  find  for  me,  since  I  never  lose 
an  opportunity  to  browse  through  travel  literature. 

When  one  is  traveling,  he  can  save  time  and  energy  by  using 
travel  literature  as  a  guide  to  movie  subjects.  It  is  immeasurably 
helpful,  also,  to  have  a  plan  of  action  outlined  by  a  skilled  travel 
consultant  who  has  been  over  the  ground  so  often  that  he  can  give 
you  pertinent  data,  such  as,  for  example,  information  as  to  whether 
a  particular  scene  is  a  "morning  shot"  or  an  "afternoon  shot." 
Before  I  left  the  travel  bureau,  I  knew  just  how  I  was  to  spend 
the  next  four  days,  weather  permitting. 

1  wanted  to  produce  a  really  good  movie — 
something  far  removed  from  the  "run  of  the 
mill"  scenic  film,  of  course.  (Everybody 
wants  to  get  away  from  that ! ) 

So,  I  planned  to  utilize  the  natural  beauties 
of  British  Columbia  only  as  a  backdrop  for 
human  activities  of  one  sort  or  another.  I  was 
determined  that  a  continuous  thread  of  action 
would  connect  the  entire  footage,  and,  during 
the  train  ride  from  New  York,  I  wrote  a  plan 
involving  a  Canadian  "Mountie"  and  a  young 
lady  traveler.  The  basic  idea  is  that  the  girl's 
transcontinental  train  stops  for  a  while  at  a 
station  somewhere  in  Canada,  and  the  young 
lady  alights  to  stretch  her  legs  and  perhaps 
to  pick  up  some  information  concerning  the 
Province  that  she  is  about  to  visit. 

She  sees  a  tall  chap  in  a  bright  red  coat 
and  asks  him  what  there  is  to  see  in  British 


•    Leo   J.    Heffernan,    ACL    (left),    producer   of   "Hail, 

British     Columbia!",     holds     replica     of     Hiram     Percy 

Maxim  Memorial  given  to  him  by  Roy  W.  Winton,  ACL, 

managing    director    of    the    Amateur    Cinema    League. 
Russell  C.  Holslagr,  ACL 


nan,  ACJ 


101 


OLUMBIA! 


LEO     J.     HEFFERNAN,     ACL 

Columbia,  and  the  "Mountie"  very  obligingly  does  his  best  to  describe  the 
most  interesting  places  to  visit.  When  he  mentions  a  point  of  interest,  the 
scene  shifts  by  a  wipeoff  or  lap  dissolve  to  the  footage  of  that  particular 
place.  Naturally,  the  scenes  representing  his  description  of  various  local- 
ities were  the  shots  that  I  made  during  my  travels. 

I  knew  that  this  continuity  motif  would  be  rather  commonplace  unless 
I  could  build  it  up  to  a  surprise  at  the  end;  so,  the  picture  ends  with  a 
simple  "twist,"  which  I  think  is  rather  delightful,  but  I  shall  not  divulge 
it,  because,  if  it  became  generally  known,  it  would  rather  spoil  the  picture 
for  those  who  see  it  for  the  first  time. 

After  I  had  developed  my  plan,  I  saw  that  my  work  was  clearly  cut  out 
for  me,  and  I  knew  that  it  would  take  some  little  organizing,  for  I  wanted 
a  fair  number  of  "knockout"  scenic  shots  peopled  with  interesting  actors. 
Every  scene  would  have  to  be  planned,  then  rehearsed  over  and  over  again 
until  it  was  right.  Then,  somewhere  in  my  travels,  I  hoped  to  stop  in  a 
town  where  Royal  Canadian  Mounted  Police  were  stationed  and  where, 

with  a  great  deal  of  luck,  I  might 
be  able  to  shoot  the  connecting 
scenes  of  the  "Mountie"  and  the 
girl  which  I  had  planned.  This 
was  a  rather  ambitious  program 
for  a  three  week  sojourn  in  a 
strange  land!  Praise  be,  I  had  the 


•  Left,  frames  from  the 
horseback  and  bicycle 
riding    sequences. 


•  Right,  shots  of  vaca- 
tion spots  in  Canada 
and  frames  from  human 
interest    sequences. 


luck  of  the  Irish,  for  the  weather  on  every  single  day  was 
perfect. 

After  I  left  the  Travel  Office  in  Victoria,  I  hired  a  light 
truck  for  a  ridiculously  small  sum,  mounted  my  Cine- 
kodak  Special  on  a  tripod  and  "planted"  the  tripod  legs 
firmly  on  the  floor  of  the  truck.  Shooting  over  the  shoul- 
der of  the  driver,  I  instructed  him  to  drive  about  the  city. 
The  truck  had  poor  springs,  and  the  vibration  was  little 
short  of  alarming,  but  the  moving  camera  shots  that  I 
made  in  the  streets  of  Victoria  appear  to  be  smooth  on 
the  screen.  It  was  late  in  the  afternoon  when  I  finished 
that  chore  but,  shortly  after  daybreak  the  next  morning, 
I     was     at     it     again,     making       [Continued  on  page  117] 


102 


WHAT  ENGLAND  FILMS  IN  WAR 


ON  THE  outbreak  of  war  in  England,  an  official  list 
of  prohibited  subjects  for  photography  was  issued 
by  the  appropriate  authorities.  After  examining  it  care- 
fully, "still"  men  and  movie  makers  alike  gave  a  small 
cheer,  because  the  list  was  so  lenient.  It  included  only 
items  of  obvious  military  importance,  and  it  seemed  to 
leave  so  many  of  our  old  subjects  and  backgrounds  un- 
impeded. Little  did  we  guess  then  that  our  hopes  were 
ill  founded — as  you  will  be  able  to  judge  from  the  expe- 
riences of  a  friend  of  mine. 

My  friend,  a  keen  movie  sharpshooter,  was  snooping 
around  an  old  town  near  our  east  coast,  looking  for  a 
good  aspect  of  a  shot  he  wanted — a  millstream  and  an 
ancient  mill  wheel — and,  having  found  the  very  thing 
that  he  was  looking  for,  he  proceeded  to  unleash  the  nec- 
essary footage.  But — aha!  The  villain  shall  not  do  his 
dastardly  work  uninterrupted!  In  fact,  in  the  middle  of 
shooting,  he  was  stopped  by  an  officer  in  uniform. 

"What  foul  crime  have  I  committed?"  cried  the  movie 
man.  To  which  the  officer  replied  that  there  was  a  pro- 
hibited view  behind  him. 

"But  I  have  not  filmed  the  prohibited  subject,"  said 
.  my  friend. 

"Well,  that's  what  you  say,"  said  the  officer.  "How  do 
I  know  that  you  are  speaking  the  truth?  In  my  expe- 
rience, spies,  bank  robbers,  murderers  and  politicians 
don't  usually  tell  you  what  they  are  up  to." 

Anyway,  the  long  and  the  short  of  it  was  that  the  film 
was  confiscated  there  and  then,  although  it  was  returned 
later,  when  it  was  found  to  be  innocuous. 

So  you  see  that  in  England  it  may  be  dangerous  to  be 
seen  even  handling  a  camera  fondly,  as  you  may  be 
hailed  off  to  the  local  jail  and  incarcerated  until  Hitler's 
patience  is  exhausted  about  you — or  possibly  rather 
longer ! 

The  point  is  that,  although  there  is  an  official  list  of 
subjects,  the  interpretation  of  the  list  rests  with  the  in- 
dividual official,  and  it  is  clear  that,  on  a  strict  inter- 
pretation, the  authorities  could  (and  sometimes  do)  take 
steps  to  prevent  photography  in  the  vicinity  of  anything 
that  is  prohibited.  The  sum  result  is  that  the  ban  is  more 
extensive  than  the  list  implies,  and  it  is  desirable  only 
to  shoot  where  there  is  obviously  no  military  activity. 

This  fact  means  that  our  outdoor  cine  work  of  all  kinds 
is  largely  confined  to  the  countryside. 

For  this  reason,  there  is  a  great  revival  of  interest  in 
the  nature  subject,  a  fact  which,  in  itself,  is  a  very  good 
thing.  There  are  innumerable  subjects  around  us  at  all 
seasons  of  the  year  which  make  elegant  movie  subjects 
and  which  do  not  require  any  special  preparation  at  all 
beyond  writing  a  suitable  shooting  script.  The  life  of  a 
tree  or  of  a  stream,  the  lambing  season,  spring  and  so 
on — a  thousand  and  one  subjects  are  still  available 
which,  more  often  than  not,  are  overlooked  in  the  usual 
way.  We  in  England  are  forced  to  seek  such  subjects  now, 
but  the  fact  remains  that  they  are  equally  suited  and 
equally  available  to  the  movie  maker  in  any  country. 


In  spite  of  regulations 
cine  filmers  still  shoot 

ERIC    F.    IMPEY 

to   all   intents  and  purposes 


taking   advantage   of 


Indoor  movie  making  is 
unrestricted,  but  many  of  us  are 
the  definite  lull  in  outdoor  work,  to  shoot  titles  for  some 
of  our  earlier  films — and  that  is  something  for  which 
to  thank  Heir  H. 

Over  a  period  of  years,  every  movie  enthusiast  accu- 
mulates a  selection  of  shots  which  do  not  fit  the  arrange- 
ments for  any  of  the  planned  epics.  The  spare  time  avail- 
able today  is  being  used  to  edit  and  title  these  oddments 
into  presentable  films,  often  of  the  family  newsreel  type. 
This,  again,  is  a  precedent  which  other  movie  makers 
might  do  well  to  follow. 

Amateur  movie  makers  are  already  making  themselves 
felt  in  the  newsreels.  The  men  of  the  British  Navy 
(although  not  of  the  Army)  are  permitted  to  take  photo- 
graphs, provided  that  the  prints  are  submitted  to  the 
censorship  of  their  commanding  officer,  and  we  have 
already  seen  a  newsreel  film  that  was  taken  by  a  naval 
officer  on  the  high  seas,  of  bombs  being  dropped  by  air- 
plane around  another  vessel.  This  film,  taken  on  amateur 
stock,  was  enlarged  to  35mm.  film  size,  frame  by  frame, 
by  the  newsreel  company  which  purchased  it.  It  seems 
that  movie  enthusiasts  should  join  the  navy! 

As  one  can  understand,  in  general,  there  is  less  ama- 
teur movie  activity  in  England  than  before  the  war,  but 
in  the  projection  field  things  are  waking  up.  The  thou- 
sands of  persons  standing  by  for  purposes  of  civilian 
defense  are  being  entertained  in  slack  periods  with  pro- 
grams of  substandard  films.  For  these  shows,  silent  films 
are  more  popular  than  are  talkies,  because  of  their  lower 
cost.  Hence  our  A.R.P.  squads  are  frequently  entertained 
by  the  films  of  that  little  man  who  really  originated  that 
small  black  moustache  as  a  comedy  accessory. 

Finally,  we  sometimes  feel  that  this  war  may  expire  by 
being  photographed  to  death.  The  wars  of  the  past  have 
been  recorded  mainly  by  the  written  word,  and  even  the 
World  War  was  by  no  means  comprehensively  pictured. 
On  the  other  hand,  this  new  war  is  being  filmed  almost 
as  much  as  the  new  baby! 

Newsreel  sequences  of  town  councillors  opening  works 
of  civilian  defense,  of  heavy  tanks,  of  beautiful  girls  in 
A.R.P.  uniforms  doing  nothing  in  particular  and  of  bat- 
tleships ploughing  their  way  through  the  waters  of  the 
ocean  are  being  filmed.  So  many  movies  are  being  made 
that  one  cannot  help  but  wonder  what  will  be  the  reaction 
of  the  generations  that  are  to  come  if  they  ever  do  see 
these  efforts. 

Perhaps  Councillor  Brown  in  his  derby  hat  will  be  as 


funny  to   them   as 
knows? 


the   Marx   Brothers   are  to   us!    Who 


103 


WHAT  WIDE  ANGLE  LENSES  DO 


WE  ARE  often  concerned  with  distance  measure- 
ments from  camera  to  subject,  but  we  do  not  often 
reflect  that  each  of  these  distances  carries  a  companion 
measurement  which  is  of  the  utmost  importance  in  pic- 
ture making.  This  is  the  distance  across,  from  one  side  of 
the  scene  to  the  other.  When  we  point  our  camera  at  any 
subject,  we  immediately  establish  the  stage  of  action  and 
set  up  invisible  "wings"  which  mark  the  left  and  right 
hand  boundaries  of  our  invisible  stage. 

The  distance  between  these  wings  is  flexible,  for  they 
draw  farther  apart  when  the  camera  is  moved  away  from 
the  subject,  or  come  closer  together  when  the  camera 
approaches  it.  This  fact  gives  all  the  leeway  that  one 
might  desire  if  there  is  plenty  of  space  to  enable  one  to 
take  advantage  of  it,  by  moving  toward  or  away  from 
the  subject.  But,  if  you  have  only  one  lens  for  your 
camera  and  if  you  are  forced  by  architectural  or  geo- 
graphical circumstances  to  remain  at  a  fixed  distance 
from  your  subject,  the  distance  between  your  stage  wings 
remains  immovably  fixed. 

Perhaps  this  appears  to  be  a  complicated  way  of  say- 
ing that  the  lens  takes  in  less  area  when  one  moves  nearer 
the  subject  and  more  when  one  moves  farther  away  from 
it.  Perhaps  so.  But  the  point  is  made  emphatically  to 
stress  the  fact  that  there  is  a  way  of  altering,  the  width  of 
your  scene  of  action  without  moving  the  camera.  This 
action  can  be  done  by  the  use  of  lenses  of  focal  lengths 
other  than  "normal."  When  the  field  of  view  is  to  be 
widened,  a  lens  is  used  which  will  focus  a  sharp  image 
when  it  is  placed  nearer  the  film.  It  does  not  require 
much  knowledge  of  plane  geometry  to  imagine 
a  simple  sketch  which  will  show  what  happens 
in  such  a  case.  A  short  focus  lens  just  naturally 
must  include  a  wider  field  of  view.  And  this 
property  comes  in  mighty  handy  when  there  is 
a  "tight  squeeze"  in  setting  up  the  camera. 

Perhaps  the  most  crucial  example  of  such  a 
tight  squeeze  is  encountered  when  one  takes  pic- 
tures in  an  ordinary  apartment  or  small  home. 
Unless  the  rooms  are  laid  out  purposely  to  fur- 
nish those  vistas  beloved  of  interior  decorators, 
difficulties  may  appear.  The  movie  maker  will 
optimistically  begin  to  back  away  from  that 
group  before  the  fireplace,  and  he  will  keep  on 
backing  until  further  retreat  is  cut  off  by  the 
opposite  wall.  Then,  on  peeping  through  the 
finder,  he  may  discover  that  his  scope  of  action 
is  so  woefully  limited  that  he  will  have  to  "pano- 
ram"  every  time  that  Madge  hands  Bill  a  toasted 
marshmallow.  And  that  will  not  do  at  all. 

Still  supposing  that  he  has  but  one  lens,  the 
movie  maker  can  go  out  into  the  hall,  unhook 
the  full  length  mirror  from  its  place  and  stagger 
in  with  it.  He  can  then  prop  it  up  carefully  in 
the  living  room,  so  that  it  reflects  the  action  into 
the  camera,  and  he  may  shoot  the  scene  in  this 
way.  In  such  a  manner,  it  is  possible  to  get  the 


Advantages  which  home 
filmers   get  from  them 


RUSSELL     C.     HOLSLAG,     ACL 

effect  of  extra  distance  in  cramped  quarters.  But  it  all 
seems  hardly  worth  while  for  a  simple  marshmallow 
sequence,  and  the  chances  are  that,  faced  with  difficulties 
such  as  these,  the  cameraman  will  be  inclined  to  let  this 
and  similar  scenes  go  unrecorded. 

But,  with  the  wide  angle  lens,  such  situations  are 
greatly  alleviated.  This  fact  becomes  plain  when  it  is 
seen  that  the  angle  included  by  the  normal  25mm.  lens 
on  a  16mm.  camera  is  approximately  twenty  one  degrees, 
whereas  that  included  by  the  15mm.  lens  is  about  thirl) 
seven  degrees.  In  these  references,  we  are  discussing  only 
the  horizontal  limits  of  the  picture;  these  limits  form  the 
horizontal  included  angle  when  straight  lines  are  drawn 
from  them  to  the  center  of  the  lens.  As  a  matter  of  fact, 
most  of  the  problems  which  a  wide  angle  lens  is  called 
upon  to  solve  are  concerned  with  the  width  of  the  picture 
and  not  its  height. 

In  16mm.  cameras  with  interchangeable  lens  mounts, 
the  wide  angle  lens  may  be  used  practically  at  will.  To 
give  a  widened  field  of  view  without  changing  the  camera 
position,  two  focal  lengths  are  generally  available,  the 
20mm.  and  the  15mm.  The  latter,  however,  is  the  more 

[Continued  on  page  120] 


•  With    a    wide    angle    lens,    you    can    get    a    representative    shot   of 
the    birthday    party. 


Hobart     Photo     Features 


1.  The  Keystone  Security  Film 
Splicer  is  operated  by  the  application 
of  a  patch,  without  scraping.  2.  This 
firm's  Illuminated  Editor  and  Splicer 
provides  a  compact  assembly  mounted 
on  a  board.  The  manufacturer  is  Key- 
stone Manufacturing  Company. 


104 


EDITING  and  titling  are  one  of  the  many  phases  of  movie  making 
that  are  nowise  affected  by  wartime.  It  is  fun  to  edit,  if  you 
have  the  right  equipment  for  the  job.  The  work  itself  is  restful,  and 
it  is  inspiring  to  see  what  you  can  do  to  a  film,  by  eliminating  the 
poorer  scenes  and  by  rearranging  shots  into  sequences.  The  longer 
that  you  make  movies,  the  more  you  know  about  them,  and  you  can 
always  improve  an  old  film  by  reediting  it  in  the  light  of  your  pres- 
ent knowledge. 

Here  is  a  survey  of  high  lights  of  some  of  the  editing  equipment 
on  the  market  today — there  are  many  other  excellent  outfits,  both 
simple  and  complex.  This  presentation  simply  gives  you  a  general 
idea  of  the  varieties  and  range  of  the  equipment  available.  If  you 
need  new  editing  equipment,  now  is  the  time  to  buy  it. 


044/1 


5.  The  Kodascope  Rapid  Rewinds, 
Movie  Viewer  and  Universal  Splicer, 
all  available  separately,  here  are 
mounted  on  a  single  sturdy  base,  to 
provide  complete  facilities  for  editing. 
The  Movie  Viewer  shows  the  picture  in 
full  motion  on  a  miniature  screen  and 
has  a  notching  device  to  identify  frames. 
It  is  available  in  8mm.  and  16mm. 
models.  This  equipment  is  a  product 
of  the  Eastman  Kodak  Company. 


3.  F-R  editing  aids  include  the  com- 
pact and  efficient  Film  Splicer  for 
8mm.  and  16mm.  films,  with  incorpo- 
rated scraper.  The  F-R  Cine  Action 
Editor  (4)  provides  a  means  for  in- 
specting film,  in  full  motion,  brightly 
illuminated  under  a  magnifier.  It  is 
available  in  8mm.  and  16mm.  models. 
Makers  are  Fink-Roselieve  Company, 
Inc. 


arnm  i  mil  iiitMMitl 


6.  The  B  &  H  Film  Splicer,  Model  136,  is  a  rugged  and 
efficient  mechanism  which  makes  a  diagonal  splice.  At  7  we 
see  this  splicer  used  with  the  B  &  H  16mm.  Filmotion  Editor 
into  which  one  inserts  the  film,  simply  by  lifting  the  hinged 

cover  at  the  top.  The  picture 
is  shown  in  full  motion  on  the 
inclined  viewing  screen.  The 
complete  B  &  H  16mm.  Film 
Editor  (8)  combines  the 
Direct  Viewer,  Splicer  and 
geared  rewinds.  The  manufac- 
turer is  the  Bell  &  Howell 
Company. 


The  Franklin  Splicer  (9) 
will  efficiently  join  8mm.  or 
16mm.  film,  singly  or  doubly 
perforated.  The  Clutch-Type 
Rewind  (10),  made  by  this 
firm,  allows  the  rotating  spin- 
dle to  be  disengaged  at  will. 
These  items  are  products  of 
Franklin  Photographic  Indus- 
tries, Inc. 


105 


tom/l 


Some  items  of  the  interesting  line  of  a 
firm  which  specializes  in  this  type  of 
apparatus  are  the  Craig  Senior  (11)  and 
Junior  (12)  splicers  for  8mm.  and  16mm. 
film,  the  Junior  (13)  and  Master  (14)  re- 
winds, the  Craig  Projecto-Editor  (15), 
which  shows  a  continuous  motion  picture 

on  the  miniature  screen  as  the  film  is 
wound  through,  and  the  8mm.  Enlarg-O- 
Editor  (16),  which  enables  one  to  inspect 
8mm.  films  and  to  enlarge  selected  frames 
through  the  use  of  a  built  in  camera.  All 
this  equipment  is  manufactured  by  the 
Craig  Movie  Supply  Company. 


Neumade  equipment  is  professional 
in  design  and  construction.  Outstand- 
ing items  in  this  company's  film  han- 
dling line  include  Neumade  Rewinds 
(17),  for  use  with  1600  foot  reels  or 
smaller  ones;  the  Griswold  splicer  (also 
shown  at  17)  ;  16mm.  film  measuring 
machines  for  footage  measurement, 
frame  counting  and  synchronizing 
sound  and  picture  film  (18)  ;  the  Neu- 
made Film  Cleaner  (19),  which  will 
handle  1600  foot  reels  and  which  is  en- 
tirely automatic  in  operation.  The 
manufacturer  is  Neumade  Products 
Corporation. 


106 


the     B\acV 

in    °Pe 


•    Left.     tn,e     :M.   doub\e 


Rider 
jb\e 
n"m9 


v  iVe  *      a\\\S« 


Wmsei 
exposure    « ■  °  rf  ^  , 

sequence  m 

D\oirs. 


photogra? 


hs  bv 


"Re  g'm 


ald  iyic^ahon 


BLACK  WD» 


LOUIS     McMAHON,     ACL 

TRY  to  convince  somebody  who  has  never  used  a  movie  camera  that  an 
amateur  could  make  a  full  fledged  Western  drama,  and  you  will  discover 
that  the  uninitiated  believe  that  such  pictures  can  be  produced  only  in  Holly- 
wood. Amateur  actors  are  not  expected  to  be  able  to  climb  ropes,  ascend 
cliffs,  fight  outlaws,  jump  across  chasms  and  fall  off  horses.  But,  believe  me, 
they  can — if  you  handle  the  camera  right!  Cine  ingenuity  will  take  the  place 
of  real  gymnastic  ability. 

In  our  latest  Western,  The  Black  Rider,  I  am  supposed  to  climb  a  twenty 
foot  rope  after  an  outlaw.  Instead  of  worrying  about  straining  my  muscles,  I 
climbed  down  the  rope,  and  the  scene  was  filmed  with  the  camera  held  upside 
down.  When  this  scene  was  turned  end  for  end  and  spliced  into  the  picture, 
I  look  like  a  veteran  stunt  man.  While  I  climbed  downward,  I  remembered 
to  look  upward,  and  the  result  is  so  natural  that  nobody  has  oried  "Fake!" 
yet. 

Holding  the  camera  upside  down  in  filming  a  fight  scene  also  helped  to 
give  the  picture  "punch."  The  knockout  blow  in  a  fight  should  be  especially 
forceful;  so,  one  actor  held  his  fist  against  the  lens  and  then  pulled  it  away 
sharply,  as  the  camera,  which  was  held  upside  down,  recorded  the  action. 
This  scene  was  spliced  into  the  picture  to  represent  the  point  of  view  of  one 
of  the  fighters  and,  of  course,  since  the  action  was  reversed  by  the  upside 
down  camera,  the  audience  sees  a  fist  crashing  toward  it,  as  the  fighter 
would  seem  to  see  it. 

In  another  case,  reverse  action  came  to  our  rescue.  The  hero's  "pal,"  a  big 

fellow  who  was  always  willing  to  fight,  grabs  each  of  two  villains  by  the  neck 

and  bangs  their  heads  together.  I  have  seen  this  effect  on  the  theatrical  screen, 

but  it  is  never  very  convincing,  since  it  is  apparent  that  the  actor  is  sparing 

the  heads  of  his  victims.  However,  we  did  it  by  having  the  big  fellow 

first  hold  the  heads  of  the  two  villains  together;  then  he  wrenched 

them  apart  sharply.  Filmed  in  reverse  motion,  the  crash  of  the  pair 

of  heads  is  entirely  satisfactory.  If  we  had  filmed  the  shot  at  a  speed 

of  eight  frames  a  second,  the  result  might  have  been  even  better. 

On  the  other  hand,  the  action  might  have  been  too  violent. 

Shooting  at  half  speed  is  very  effective  in  filming  fight  scenes, 
but  one  must  be  careful.  If  the  movements  of  the  actors  are  not 
smooth,  half  speed  will  make  the  action  appear  to  be  jerky  on  the 
screen.  It  is  best  to  take  the  action  twice,  once  at  half  speed  and  once 


107 


Clever  movie  tricks  that 
served  in  ambitious  film 


at  normal  speed.  Then,  in  editing,  you  can  replace  sec- 
tions of  half  speed  that  seem  jerky  with  lengths  of  the 
same  action  that  was  filmed  at  normal  speed. 

Half  speed  solved  another  problem  for  us.  The  hero 
of  The  Black  Rider  has  many  occasions  to  be  '"quick  on 
the  draw,"  and,  although  I  have  studied  detailed  sketches 
of  the  fast  gun  draw  that  was  practiced  by  the  fighters 
of  the  old  West.  I  have  never  achieved  anything  that 
looks  fast  enough.  Half  speed  did  the  trick,  and,  on  the 
screen,  our  gun  draws  look  like  the  "real  McCoy." 

Half  speed  combined  with  cutting  and  reverse  motion 
can  produce  a  thrilling  sequence  without  danger  to  the 
actors.  In  Pals  of  the  Plains,  we  wanted  two  fellows  to 
fight  at  the  edge  of  a  steep  cliff.  The  villain  was  to  get 
knocked  off  and  tumble  down  the  cliff.  The  cliff  was 
high,  and  scuffling  back  and  forth  at  its  edge  could  be 
really  dangerous.  So  our  actors  stood  as  near  the  edge 
as  their  nerves  allowed  and  exchanged  slow  and  gentle 
blows.  This  action  was  filmed  at  half  speed,  with  the 
result  that,  when  you  see  the  picture,  you  expect  one  of 
I  he  boys  to  tumble  off  at  any  time. 

At  the  climax  of  the  fight  comes  the  scene  of  the  fist 
crashing  toward  the  audience;  then,  in  an  upward  angle. 
you  see  the  villain  falling.  The  background  of  this  shot 
is  simply  sky,   and  the  audience   does  not   realize 
that  the  action  was,  in  reality,  filmed  on  a  perfectly 
safe  ledge.  This  shot  was  followed  by  the  scene  of 
a   dummy    tumbling    down   the   jagged   cliff   front, 
and  our  sequence  was  complete. 

In  The  Black  Rider,  the  outlaw  runs  up  a  cliff  to 
escape.  Near  the  top,  he  slips  and  falls  off. 
This   lime,   I   used   no   dummy.   We   made   a 
rocky,  gentle  slope  look  like  a  steep  cliff  by 
Jilting  the  camera.  The  outlaw  crawled  along 
the  ground  and.  at  a  certain  spot,  he  stood 
straight    up    and    fell    backward    out    of    the 
scene.  A  short  flash  of  his  fall  through  the  air 
is    followed   by   a   closeup   that   represents 
the    hero    watching    him    fall.    When    we 
filmed    the  latter   scene,   we  threw  a   rock 
from  a  high  cliff,  and  the  hero  watched  it 
fall.  Hence,  in  the  scene,  he  has  the  right 
expression,  and  his  eyes  seem  to  follow  the 
hurtling  body  of  the  villain.  The  final  shot 
is    of    the    Rider's    broken    body    lying    among 
jagged  rocks  at  the  bottom  of  the  cliff. 

The  secret  "hideout"  of  the  villain  is  supposed 
to  be  surrounded  byr  steep  cliffs.  In  the  local 
"mountain  range,"  we  discovered  an  abandoned 
rock  quarry  below  which  were  dilapidated  build- 
ings that  made  a  very  Western  like  bandit  strong- 
hold. Actuallv,  the  cliffs  are  broken  by  a  civilized  road, 
leading  to  a  village  main  street;  but,  by  carefully  choos- 
ing camera  viewpoints,  we  were  successful  in  creating 
the  illusion  of  the  rugged  West.  Everyr  outlaw's  strong- 
hold must  have  its  secret  entrance.  We  used  two  shallow 
caves.  One,  covered  with  bushes,  was  used  for  the  en- 
trance, and  the  other,  among  rocks,  was  used  to  repre- 
sent the  exit  into  the  quarry.  The  fact  that  the  two  caves 
are  not  connected  and  certainly  do  not  penetrate  the  cliffs 
never  seems  to  dawn  upon  the  audience,  and  they^  take  the 
entrance  in   one  and  the  exit  from  the  other  as  a  sure 


guarantee  that  the  caves  form  a  connected  tunnel. 

In  the  final  gun  battle,  the  hero,  to  get  behind  the 
outlaw  and  to  make  the  capture,  climbs  a  cliff,  which 
surrounds  them.  Climbing  the  cliff  and  getting  behind 
the  outlaws  were  easy  enough;  but.  once  behind  them, 
the  hero  had  to  get  down.  Just  to  climb  down  again 
would  not  give  action  that  was       [Continued  on  page  120] 


ft. 


4&& 


108 


•  Scenes  -from  "Listen — 
It's  FM!",  Kodachrome 
sound  film  produced  by 
Sales  Education  Section  ot 
General    Electric   Company. 


PRACTICAL 
FILMS 


FM  Simplified 

Released  in  November  by  the  General  Electric  Com- 
pany is  Listen — It's  FM!,  an  800  foot  sound  film.  The 
movie  was  produced  by  the  Sales  Education  Section  in 
Bridgeport,  Conn!,  under  the  supervision  of  Wilfrid  D. 
Galpin.  On  16mm.  color  stock,  the  film  shows  a  salesman 
explaining  to  a  prospective  buyer  the  many  advantages 
of  the  new  frequency  modulation  system  of  broadcasting. 
With  a  simple  narrative  and  unusually  good  use  of  ani- 
mation, Listen — It's  FM!  makes  clear  even  to  the  least 
scientifically  minded  person  the  principles  of  the  FM 
system.  Hence,  while  intended  originally  for  use  solely 
within  the  company,  the  film  is  now  being  distributed 
freely — for  details,  consult  the  Free  Film  Reviews.  The 
original  story  was  written  by  C.  H.  Bell,  the  technical 
advisers  were  H.  J.  Deines  and  E.  F.  Reihman,  and  H.  F. 
Stiles  was  the  director  of  filming.  D.  Lopez  was  the 
sound  man.  while  the  whole  production  was  directed  by 
H.  Lionel  Miller. 

Hartley  Reports 

Hartley  Productions,  New  York  City,  announces  the 
recent  release  of  a  1200  foot  monochrome  movie  with 
sound  track,  entitled  It  Happened  Here,  sponsored  by 
the  Church  Mission  of  Help.  Designed  to  interpret  the 
Mission's  work  to  lay  groups,  clients  and  prospective 
donors,  the  film  was  shot  by  Irving  Hartley.  Some  infor- 
mation as  to  the  movie's  content  can  be  found  in  the  Free 
Film  Reviews,  where  it  is  listed  for  public  distribution. 
Hans  Burger  wrote  the  script  and  directed  the  production, 
and  The  Reverend  Lauriston  L.  Scaife  was  the  narrator. 
A  special  musical  score  was  composed  by  Giovanni  Cama- 
jani,  which  was  sung  by  the  choir  of  St.  Thomas  Church, 
under  the  direction  of  Dr.  T.  Tertius  Noble. 

Training  Films  by  Loucks  &  Norling 

Offered  by  the  U.  S.  Office  of  Education  as  the  first  of 
its  series  of  machine  shop  teaching  films  are  five  movies 
of  precision  measurement,  produced  by  Loucks  &  Norling, 
of  New  York  City.  With  a  total  footage  of  2700  feet,  the 
films  may  be  purchased  separately  or  as  a  complete  unit. 
Instructors  are  expected  to  supplement  the  information 
set  forth  both  in  terms  of  their  own  student  groups  and 
of  shop  practice.  All  films  are  16mm.  monochrome  with 
sound.  The  titles  of  this  first  series  follow:  The  Steel 
Rule,  The  Micrometer,  Fixed  Gages,  Vernier  Scale,  Height 
Gages  and  Standard  Indicators.  The  entire  series  of  fifty 


<$     *  * 

•                ■  dfej  jPH 

■   * 

1     -"** 

"% 

WHAT  YOU  CAN   HEAR 


CraaSfiS 


m 


!Es£S59 

16mm.   scenes  by  General   Electric   Co. 


The  non  theatrical  movie  as 
used  for  various  purposes 

GORDON     L.     HOUGH 

films  of  the  Office  of  Education  is  being  distributed  by 
Castle  Films,  Inc.,  of  New  York  City. 

Movies  in  Church 

Under  the  leadership  of  Dennis  R.  Anderson,  Sr.,  ACL, 
a  group  in  the  First  Christian  Church  of  New  Castle,  Ind., 
has  embarked  upon  a  program  of  showing  religious  and 
educational  films  at  the  meetings  of  the  various  church 
organizations.  Mr.  Anderson  writes  that  the  attendance 
at  the  Sunday  evening  services  has  been  tripled  by  show- 
ing religious  pictures.  At  the  Christmas  season,  an  ampli- 
fier was  placed  outside  the  front  window  of  the  church, 
and  carols  were  sent  out  over  the  main  part  of  the  town. 
The  group  made  its  own  projection  table  for  a  sound 
machine  which  was  bought  by  the  Sunday  school  class. 

Activity  at  Iowa  State 

Iowa  State  College,  in  Ames,  reports  that  its  Visual 
Instruction  Service  is  in  the  midst  of  an  extensive  pro- 
duction program.  Already  completed  are  three  films  about 
the  activities  of  the  divisions  of      ['Continued  on  page  124] 


■Murray    Tucker 


109 


AMATEUR 
CLUBS 


•  Actors  in  "Wolf  Bait,"  cine  skit  made  by  Leo  J.  Heffernan,  ACL, 
and  George  A.  Ward;  it  was  screened  at  a  recent  meeting  of  the' 
Metropolitan    Motion    Picture    Club. 


Long  Beach  serves 


Authentic  information  on  what  to 
do  in  the  event  of  an  air  raid,  how 
to  handle  incendiary  bombs  and  how  to  administer  first  aid 
will  be  contained  in  three  motion  pictures  to  be  filmed  soon 
by  the  Long  Beach  (Calif.)  Cinema  Club,  according  to  an 
announcement  by  Robin  Hadley,  ACL,  newly  elected  presi- 
dent. The  group  plans  to  follow  up  its  production  work  with 
projection  service  for  the  local  Civilian  Defense  Council. 
Other  officers  serving  with  Mr.  Hadley  are  Dr.  Franz  Buerger, 
first  vicepresident;  Harry  Ward,  second  vicepresident ; 
Prudence  Bracklow,  secretary;  Mrs.  V.  B.  Whitely,  treas- 
urer. Mrs.  Mildred  J.  Caldwell,  ACL,  retiring  president,  was 
presented  with  an  engraved  gift  by  the  membership,  in 
appreciation  of  her  vigorous  leadership  during  1941. 

Winona  forms  New  in  Minnesota  is  the  Winona  Cine 
and  Camera  Club,  with  an  active 
charter  membership  of  thirty  five  still  camera  and  movie 
workers.  First  officers  include  Dr.  N.  A.  Roettiger,  ACL, 
and  Doren  A.  Eitsert,  ACL.  The  club  already  has  initiated 
a  survey  of  members'  equipment  and  program  interest,  and 
it  is  conducting  a  "swap  and  sales"  department  for  used 
equipment,  as  a  partial  answer  to  war  shortened  supplies. 
Programs  have  been  equally  divided  between  beginners' 
and  advanced  interests. 

Worcester  tries  again      The   Worcester   Cinema    Club, 

in    Massachusetts,    was    reor- 
ganized shortly  after  the  new  year  and  goes  into  1942  with 

•    Members    of    Parkchester    Cine    Club,    in    New    York    City, 

giving  screen  tests  for  "Well,   I'll   be — ,"   by  George   Kirstein. 

George    Grover 


What  organized  groups 
are  doing  everywhere 

JAMES     W.     MOORE,     ACL 

a  fresh  and  active  board  of  officers.  These  are  John  M. 
Bailey,  president;  Wayne  Lovell,  vicepresident;  Wilfred  E. 
Despard,  ACL,  secretary;  Edwin  T.  Olson,  treasurer.  An 
early  activity  of  the  new  unit  was  a  gala  screening  of  out- 
standing films,  open  to  the  public,  on  which  program  the 
club  presented  L'lle  d'Orleans  and  His  Off  Day,  from  the 
Club  Film  Library  of  the  League,  and  Neiv  England  on 
Parade,  a  1600  foot  feature  by  George  Clark,  a  club  member. 

New  in  Iowa  Thirteen  members  signed  the  charter  roll 
of  the  West  Liberty  Movie  Makers  Club, 
recently  formed  in  Iowa.  Dr.  T.  A.  Robertson,  ACL,  is  first 
president,  assisted  by  Elmer  Merridith,  vicepresident;  Forest 
Hinkhouse,  secretary;  Arthur  Oslund,  treasurer. 

ChicagOS  exchange  Following  a  friendly  tradition  of 
the  last  few  years,  the  Metro 
Movie  Club  of  River  Park,  in  Chicago,  and  the  Chicago 
Cinema  Club,  ACL,  have  again  exchanged  positions  as  host 
and  guest  at  each  other's  meetings.  At  a  mid  February 
gathering  in  the  quarters  of  the  Metro  Club,  members  of 
the  elder  Chicago  Cinema  Club  were  guests,  and  they  sup- 
plied the  film  program  for  their  hosts,  as  follows:  Autumn  in 
Color,  by  Sherman  Arpp,  ACL,  and  Fiesta  Mexicana,  by 
M.  A.  Hagel.  During  the  coming  month,  the  Metro  unit  will 
journey  to  CCC  headquarters  with  their  exchange  program 
of  members'  pictures. 

First  for  Kenosha  More  than  fifty  members  and  guests 
of  the  Kenosha  Movie  Makers  Club, 
in  Wisconsin,  gathered  recently  for  the  group's  first  annual 
dinner  meeting.  Several  members  of  the  neighboring  Ra-Cine 
Club  were  guests  of  the  Kenosha  unit,  and  they  were  intro- 
duced by  Lewis  Rasmussen,  ACL,  the  club's  president. 
W.  W.  Vincent,  jr.,  ACL,  was  in  charge  of  dinner  arrange- 
ments, with  the  assistance  of  Earle  Munger  and  Durward 
Cunningham,  who  made  a  film  record  of  the  occasion.  The 
club  plans  a  single  reel,  uncut  film  contest  for  the  imme- 
diate future. 

Rockford  goes  West  Members  of  the  Rockford  Movie 
Makers,  ACL,  in  Illinois,  fol- 
lowed Horace  Greeley's  sage  advice,  at  least  vicariously, 
at  a  recent  meeting  which  featured  a  program  of  Western 
travel  films.  Ernest  Estwing  took  the  gathering  through 
Bryce   and  Zion   National   Parks,      [Continued  on  page  126] 


*-  I  HERE'S  small  need  to  tell  you 
how  important  that  dependable 
Cine-Kodak  of  yours  really  is. 
Now  more  than  ever. 

But — what  shape  is  it  in? 
It  will  make  movies — yes.  Good 
movies.  Year  after  year.  With  little  or  no  attention.  Yet  a 
movie  camera  is  a  delicate  instrument  requiring  the  pre- 
cise co-ordination  of  many  moving  parts.  The  more  valu- 
able your  camera  has  been  to  you  .  .  .  the  more  it  has  been 
used  .  .  .  the  greater  is  the  likelihood  that  some  of  these 
parts  have  worn  .  .  .  the  greater  the  possibility  that  some 
may  be  out  of  adjustment.  Now — more  than  ever — needful 
adjustments,  repairs,  or  replacements  are  a  move  of 
foresight  and  economy. 

YOUR  DEALER  IS  YOUR  CONTACT 

There  are  two  separate  and  distinct  methods  by  which 
such  repairs  can  be  effected.  Whichever  plan  you  adopt 
the  initial  step  is  the  same:  Take  your  equipment  to  your 
dealer.  If  he  is  not  equipped  to  do  the  work  himself,  he 
will  know  the  address  of  the  nearest  authorized  Eastman 
repair  service.  One  suggestion  here — why  not  deliver 
your  camera  in  its  carrying  case?  It's  good  protection. 
And  it,  too,  may  need  a  bit  of  touching  up. 


The  first  plan  is  for  you  to  indicate  what  repairs  you 
believe  your  camera  needs.  If  desired,  charges  for  the 
repair  or  replacement  of  individual  parts  will  be  quoted 
before  the  work  is  executed.  Even  then,  of  course,  Eastman 
trouble  shooters  will  make  a  general  check  of  your  equip- 
ment and  recommend  all  needful  repairs — which,  how- 
ever, will  not  be  undertaken  without  your  say-so.  Your 
Cine-Kodak  will  be  returned  to  you  through  your  dealer 
— less  25%0  of  the  usual  repair  charges  if  the  Cine- 
Kodak  is  received  by  repair  shops  before  May  1. 

CAMERAS  "GOOD  AS  NEW" 

The  second  plan,  and  probably  the  more  advisable  if 
your  equipment  has  seen  considerable  service,  is  for  you 
to  turn  it  in  for  a  complete  overhaul.  Some  idea  of  the 
meaning  of  "complete"  is  given  by  the  illustration  and 
listing  across  the  page.  The  equipment  is  completely  dis- 
mantled. Every  single  part  of  it  is  checked  and  tested — 
and  checked  and  tested  again.  All  parts  that  need  adjust- 
ment— and  can  be  adjusted — are  adjusted.  Other  parts 
are  repaired.  Still  others  replaced.  Then  the  equipment  is 
given  exactly  the  same  tests  and  inspection  which  brand 
new  equipment  must  undergo — then  returned  to  you — 
and  the  cost  is 25%  less  than  the  usual  cost  of  camera 
repairs,  if  received  by  repair  shops  before  May  1. 


nUTHlSl  a**00** 

£S** pwcls 

CINE-KODAK  **»      $7  50 
yodels  20  and  1  ^Q 

Model  60  •  •  • 


CINE-KODAK 

Model  B  ••••■•  " 
NVodel  BB    ..*:•• 

l*odel  I*  •  •  • 

Model  K  •      • 

Model  E   •  • 

,ine  Sixteen . 
Magazine  =»  ^ 


.  •  •  • 


$14.00 

u.oo 

10.00 

» 

12.00 

10.00 

12.00 


ODAK  REPAIRS  UNTIL  MAY  1 


WHAT  WE  MEAN  BY  COMPLETE  OVERHAUL 


HERE  are  some  of  the  things  which  will 
be  checked  if,  for  example,  you  send  in 
a  Cine-Kodak  K  for  a  complete  overhaul: 

1.  Check  dents  or  serious  abrasions  of 
the  case.  Remove  dents  .  .  .  touch  up 
abrasions. 

2.  Check    external    parts    and    fittings. 

Test  screw  seatings — there  are  two 
dozen  of  'em  on  a  Model  K.  Clean 
metal  parts. 

3.  Remove  the  lens  and  check  the  lens 
surfaces,  focusing,  diaphragm,  front 
finder.  Clean  lens  surfaces.  Check  ac- 
curacy and  ease  of  focusing,  cleanliness 
and  adjustment  of  diaphragm  blades, 
condition  of  front  finder. 

4.  Check  rear  finder. 

5.  Check  lenses  and  mirrors  of  "K's" 
waist-height  finder. 

6.  Check  fit  of  cover.  Straighten,  if 
strong-arm  methods  have  bent  it  or  dis- 


located locks  and  light  guards  on  its 
inner  surface. 

7.  Check  footage  indicator  for  accuracy. 

8.  Check  motor  for  jumps.  If  camera 
"leaps"  in  hands,  motor  needs  lubrica- 
tion. With  Model  K  this  necessitates  new 
motor. 

9.  Check  half-speed  clutch  for  positive 
action.      If  worn,  replace. 

10.  Check  length  of  run.  Model  K 
should  run  at  least  a  half  minute  with 
one  winding.  Many  Cine-Kodaks  run 
longer. 

11.  Check  pressure  plate.  Proper  fit  of 
plate  to  gate  is  essential  for  smooth  flow 
of  film. 

12.  Remove  and  check  gate.  Clean, 
and,  if  necessary,  refit. 

13.  Check  fit  and  operation  of  claw, 
pull  down,  take-up  tension,  guide  lever 
on  take-up  spool.  Claw  must  engage 
perforations  without  touching  film. 


14.  Check  timing.  "Fast"  cameras  un- 
derexpose film.  "Slow"  cameras  over- 
expose it.  Adjust  timing  if  off. 

15.  Load  and  check  for  loss  of  loop. 

16.  Check  tripod  socket.  If  worn,  re- 
place. 

17.  Clean  and  lubricate.  Remove  all 
mechanism  from  case.  Clean  and  scru- 
tinize. Cine-Kodak  K  owners  should  not 
oil  cameras  themselves. 

18.  Check  framing. 


Except  for  a  few  inevitable 
external  indications  of  wear,  a 
Cine-Kodak  must  really  be 
lvgood-as-new"  mechanically 
before  it  is  returned  to  you,  com- 
pletely overhauled — and  that 
overhaul  backed  by  Eastman. 


: 


Have  the  New  Guide  put  on  your  Camera 

IF  your  Cine-Kodak  was  bought  before  the  intro- 
duction of  the  Cine-Kodak  Universal  Guide— the 
guide  that  takes  the  exposure  cards  packed  with 
every  roll  of  Cine-Kodak  film  —  ask  your  dealer  to 
have  it  installed  on  the  side  of  your  camera  while 
it  is  in  for  repair.  The  old  exposure  plate  on  the 
camera  front  will  be  changed  at  the  same  time. 
Charge,  $1.05  —  25%  discount  does  not  apply. 


MAN 


COMPANY 


ROCHESTER,  N.  Y. 


I 


25WF 


I  HERE'S  small  need  to  tell  you 
how  important  that  dependable 
Cine-Kodak  of  yours  really  is. 
Now  more  than  ever. 

But — what  shape  is  it  in? 
It  will  make  movies — yes.  Good 
movies.  Year  after  year.  With  little  or  no  attention.  Yet  a 
movie  camera  is  a  delicate  instrument  requiring  the  pre- 
cise co-ordination  of  many  moving  parts.  The  more  valu- 
able your  camera  has  been  to  you  .  .  .  the  more  it  has  been 
used  .  .  .  the  greater  is  the  likelihood  that  some  of  these 
parts  have  worn  .  .  .  the  greater  the  possibility  that  some 
may  be  out  of  adjustment.  Now — more  than  ever — needful 
adjustments,  repairs,  or  replacements  are  a  move  of 
foresight  and  economy, 

YOUR  DEALER  IS  YOUR  CONTACT 

There  are  two  separate  and  distinct  methods  by  which 
such  repairs  can  be  effected.  Whichever  plan  you  adopt 
the  initial  step  is  the  same:  Take  your  equipment  to  your 
dealer.  If  he  is  not  equipped  to  do  the  work  himself,  he 
will  know  the  address  of  the  nearest  authorized  Eastman 
repair  service.  One  suggestion  here — why  not  deliver 
your  camera  in  its  carrying  case?  It's  good  protection. 
And  it,  too,  may  need  a  bit  of  touching  up. 


OlDUCl  »?» 

RDM  W*  a**»* 

flrf***  *TS       17.50 
Model  60 


The  first  plan  is  for  you  to  indicate  what  repairs  you 
believe  your  camera  needs.  If  desired,  charges  for  the 
repair  or  replacement  of  individual  parts  will  be  quoted 
before  the  work  is  executed.  Even  then,  of  course,  Eastman 
trouble  shooters  will  make  a  general  check  of  your  equip- 
ment and  recommend  all  needful  repairs — which,  how- 
ever, will  not  be  undertaken  without  your  say-so.  Your 
Cine-Kodak  will  be  returned  to  you  through  your  dealer 
— less  25%  of  the  usual  repair  charges  if  the  Cine- 
Kodak  is  received  by  repair  shops  before  May  1. 

CAMERAS  "GOOD  AS  NEW" 

The  second  plan,  and  probably  the  more  advisable  if 
your  equipment  has  seen  considerable  service,  is  for  you 
to  turn  it  in  for  a  complete  overhaul.  Some  idea  of  the 
meaning  of  "complete"  is  given  by  the  illustration  and 
listing  across  the  page.  The  equipment  is  completely  dis- 
mantled. Every  single  part  of  it  is  checked  and  tested — 
and  checked  and  tested  again.  All  parts  that  need  adjust- 
ment— and  can  be  adjusted — are  adjusted.  Other  parts 
are  repaired.  Still  others  replaced.  Then  the  equipment  is 
given  exactly  the  same  tests  and  inspection  which  brand 
new  equipment  must  undergo — then  returned  to  you — 
and  the  costis25%less  than  the  usual  cost  of  camera 
repairs,  if  received  by  repair  shops  before  May  1. 


cinUodak  16-NUA.  ^ 

Model  B  .  l4  oO 

Model  BB    •  lQ  0o 

Model  NV l2.00 

Model  VC  •  •  l0  oO 

Model  E   •  •  •  '  ^.0° 
Magazine  SWeen. 


WHAT  WE  MEAN  BY  COMPLETE  OVERHAUL 


HERE  are  some  of  the  things  which  will 
be  checked  if,  for  example,  you  send  in 
a  Cine-Kodak  K  for  a  complete  overhaul: 

1.  Check  dents  or  serious  abrasions  of 
the  case.  Remove  dents  .  .  .  touch  up 
abrasions. 

2.  Check    external    parts    and    fittings. 

Test  screw  seatings — there  are  two 
dozen  of  'em  on  a  Model  K.  Clean 
metal  parts. 

3.  Remove  the  lens  and  check  the  lens 
surfaces,  focusing,  diaphragm,  front 
finder.  Clean  lens  surfaces.  Check  ac- 
curacy and  ease  of  focusing,  cleanliness 
and  adjustment  of  diaphragm  blades, 
condition  of  front  finder. 

4.  Check  rear  finder. 

5.  Check    lenses    and    mirrors    of    "K's" 
.  waist-height  finder. 

6.  Check  fit  of  cover.  Straighten,  if 
strong-arm  methods  have  bent  it  or  dis- 


located locks  and  light  guards  on  its 
inner  surface. 

7.  Check  footage  indicator  for  accuracy. 

8.  Check  motor  for  jumps.  If  camera 
"leaps"  in  hands,  motor  needs  lubrica- 
tion. With  Model  K  this  necessitates  new 
motor. 

9.  Check  half-speed  clutch  for  positive 
action.     If  worn,  replace. 

10.  Cheek  length  of  run.  Model  K 
should  run  at  least  a  half  minute  with 
one  winding.  Many  Cine-Kodaks  run 
longer. 

11.  Check  pressure  plate.  Proper  fit  of 
plate  io  gate  is  essential  for  smooth  flow 
of  film. 

12.  Remove  and  check  gate.  Clean, 
and,  if  necessary,  refit. 

13.  Check  fit  ond  operation  of  claw, 
pull  down,  take-up  tension,  guide  lever 
on  fake-up  spool.  Claw  must  engage 
perforations  without  touching  film. 


14.  Check  timing.  "Fast"  cameras  i 
deiexpose  film.  "Slow"  cameras  ov 
expose  it.  Adjust  timing  if  off, 

15.  Load  and  check  for  loss  of  loop. 


If 


Remove    alt 

n  and  bctu- 

ihould  not 


16.  Check  tripod  socket. 

place. 

17.  Clean  and  lubricate, 
mechanism  from  case.  CI 
tinize.  Cine-Kodak  K 
oil  cameras  themselv 
16.   Check  framing. 


Except  for  a  few  inevitable 
external  indications  of  wear,  a 
Cine-Kodak  must  really  be 
"good-as-new"  mechanically 
before  it  is  returned  to  you,  com- 
pletely overhauled — and  that 
overhaul  backed  by  Eastman. 


Have  the  New  Guide  put  on  your  Camera 


ASTMAN  KODAK  C0MPA, 


Be,  $1.05—25%   disc 


ROCHESTER,  N.  Y. 


112 


NEWS  OF 
THE  INDUSTRY 


•  Below,  shots  in  latest  Castle  releases.  From  top  fo 
bottom,  the  Normandie  capsizing  and  battleships  aflame 
in  "Bombing  of  Pearl  Harbor — Burning  of  SS  Normandie." 
Bottom,  dramatic  scene  in  "Britain's  Commandos  in  Action." 


i 

^8 

i 

6 

W^J|2 

ft 

J 

•  Filmo  Turret  8,  made  by  Bell  &  Howell 
Co.,  equipped  with  Quick  Shift  Zoom 
Attachment. 

RUSSELL     C.     HOLSLAG,     ACL 


Kodacolor  A  revolutionary  new 
process,  which  brings 
color  snapshots  to  users  of  roll  film 
cameras,  has  been  perfected  by  the 
Eastman  Kodak  Company,  Rochester, 
N.  Y.  Movie  makers  of  long  standing 
will  recognize  in  Kodacolor  the  name 
which  was  given  to  the  first  16mm.  color 
film.  Since  this  original  color  movie  film 
is  no  longer  made,  the  name  was  liber- 
ated for  the  new  process,  which  bears 
little  resemblance  to  its  predecessor. 
Kodacolor  has  now  become  a  roll  film 
negative  for  still  camera  use,  and  from 
it  the  paper  prints  in  color  can  be  made. 
The  negative  must  be  developed  by 
special  processing  methods  of  the  manu- 
facturer, and  enlarged  paper  prints  of 
standard  size  are  available  from  the 
same  source.  Processing  and  printing 
of  films  are  done  only  through  dealers. 

Kodacolor  roll  film,  after  exposure 
and  processing,  becomes  a  negative  of 
a  special  kind.  Not  only  are  the  tonal 
values  reversed,  as  in  the  case  of  an 
ordinary  black  and  white  negative,  but 
the  color  values  are  reversed  as  well. 
That  is,  green  trees  may  appear  on  the 
negative  as  orange,  red  stripes  in  the 
flag  appear  as  blue,  and  so  on.  For 
average  subjects  in  sunlight,  the  basic 
exposure  is  given  as  one  fiftieth  of  a  sec- 
ond at  //8  to  //ll.  When  the  color 
negative  is  printed,  the  values  are  re- 
versed and  the  picture  then  appears  in 
its  proper  colors  as  a  positive. 

All  Kodacolor  prints  are  made  to 
the  same  fixed  width  of  two  and  seven 
eighths  inches;  the  length  depends  on 
the  proportions  of  the  picture  dimen- 
sions given  by  any  particular  camera. 
Prints  from  color  negatives  can  be 
made  at  any  time  and  in  any  quantity. 


Answers  the  query 
"What's  new?"  for 
filmer  and  dealer 


Satisfactory  black  and  white  prints  also 
can  be  made  from  Kodacolor  negatives. 
It  is  not  recommended  that  Koda- 
color film  be  used  with  artificial  light, 
although  it  is  said  that  blue  tinted  flash 
bulbs  may  be  used  for  interior  work. 
Kodacolor  prints  have  a  glossy  surface; 
and  they  cost  forty  cents  in  each  of  the 
standard  sizes.  Original  roll  film  sizes 
are  127,  120,  620,  116,  616  and  122. 
Prices  range  from  $1.25  to  $2.40  a  roll. 

Kodascope  Sixteen-10    A   new 

Ko  d  a- 
scope  16mm.  projector  of  moderate 
price  and  high  quality  has  been  in- 
troduced by  the  Eastman  Kodak  Com- 
pany. Rochester,  N.  Y.  The  outstand- 
ing features  of  the  new  machine  are  its 
simple,  efficient  design,  which  provides 
the  utmost  facility  in  setting  up,  thread- 
ing and  operation,  and  its  universal 
adaptability  to  meet  the  varying  condi- 
tions of  projection. 

The  Sixteen-10  was  designed  espe- 
cially for  use  with  projection  lamps  up 
to  750  watts  in  rating,  but  it  may  also 
be  used  with  the  1000  watt  lamp  if  con- 
ditions demand.  There  is  a  choice  of 
five  projection  lenses,  from  the  short 
focus,  one  inch,  //2.5  to  the  four  inch, 
f/2.5.  The  pull  down  claws  are  ar- 
ranged in  a  straight  line,  for  showing 
either  single  or  double  perforated  film. 
The  entire  optical  system  is  easily  ac- 
cessible for  cleaning,  and  the  roomy, 
new  type  lamp  house  is  efficiently  fan 
cooled.  If  desired,  the  lamp  itself  can 
be  laterally  shifted  through  a  special 
adjustment  for  accurate  centering. 

The  projector  mechanism  and  lamp 
house  unit  are  carried  on  a  gracefully 
designed  pedestal  base.  A  handy  knob 
at  the  upper  part  of  the  base  column 
enables  the  image  to  be  centered  on 
the  screen  by  tilting.  Framing  device, 
speed  control  and  rapid  rewind  are  pro- 
vided. 

A  handsome  carrying  case,   covered 

with   gray  luggage   fabric,  is   available 

for  the  new  projector  and  accessories. 

[Continued  on  page  128] 


Ill 


CANADIAN 

CONTEST 

OPENS 


Photograph  from  National  Film  Board  of  Canada 
16mm.  scenes  by  Harley  Bixler,  ACL 

•  Frames  from  "Canada's  Garden  Province,"  study  of  Prince  Edward  Island  by  Harley 
Bixler,  ACL.  Photograph  is  of  scene  in  New  Brunswick.  These  are  two  of  the  Provinces 
cooperating    in   the    contest. 


THE  National  Film  Board  of  Canada  invites  the  ama- 
teur movie  makers  of  the  United  States  to  film  in  Can- 
ada this  summer.  That  official  bureau  of  the  Canadian 
Government  urges  the  movie  makers  of  this  country  to 
turn  their  cameras  on  Canada's  north  woods,  its  fishing 
streams,  its  beautiful  old  world  cities,  its  lands  in  Quebec, 
where  peaceful  farmers  follow  the  traditions  of  their 
French  ancestors. 

"Come  to  Canada,"  invites  the  Canadian  National  Film 
Board,  and  the  governments  of  four  Provinces  back  up 
this  invitation  with  generous  prizes  for  the  best  16mm. 
movies  made  within  their  borders.  British  Columbia, 
Quebec,  New  Brunswick  and  Prince  Edward  Island  each 
offers  a  prize  of  all  expense  tours  for  two  persons,  while 
the  National  Film  Board,  itself,  offers  a  cash  prize  of 
$500.00  for  the  best  of  the  four  films  that  win  the  prizes 
offered  by  the  Provincial  governments. 

The  contest,  which  opens  March  1  and  which  closes 
November  15,  1942,  is  open  to  movie  makers  who  are 
residents  of  the  United  States.  It  is  not  open  to  Canadians 
nor  to  United  States  citizens  resident  in  Canada.  In  other 
words,  the  contest  is  planned  to  discover  the  best  films 
made  by  United  States  tourists  who  visit  one  of  four  of 
the  Provinces  of  Canada  during  the  coming  travel  and 
vacation  season. 

To  enter  the  contest,  a  movie 
maker  would  visit  one  or  more  of  the 
four  cooperating  Provinces  of  Can- 
ada— British  Columbia,  Quebec,  New 
Brunswick  or  Prince  Edward  Island 
— and  there  he  would  make  a  movie 
of  at  least  400  feet  in  length.  As  his 


subject,  the  movie  maker  can  select  any  scenic  topic,  any 
recreation  or  sport  or  combination  that  he  chooses.  He 
can  film  any  industrial  or  community  subject  that  is  not 
affected  by  wartime  restrictions.  He  can  simply  make  a 
film  of  his  travels,  if  he  likes,  or  he  can  select  some  par- 
ticular subject  and  confine  his  movie  footage  to  that.  The 
important  thing  is  that  the  competing  movie  maker  must 
devote  two  thirds  of  the  footage  of  the  finished  movie  to 
subjects  filmed  within  the  borders  of  the  Province  that 
he  has  selected.  The  remainder  of  the  footage  can  consist 
of  any  appropriate  subject  matter — the  movie  maker's 
travels  to  Canada,  his  visits  to  other  Provinces  or  shots 
made  elsewhere,  to  develop  the  particular  continuity,  or 
theme,  of  the  picture. 

Thus,  to  enter  the  contest,  the  movie  maker  selects  one 
of  the  four  cooperating  Provinces  as  his  subject  matter. 
If  he  wishes,  the  competing  movie  maker  can  enter  more 
than    one    film    in    the    contest       [Continued  on  page  127] 

•  Frames  from  "Hail,  British  Columbia!",  film  of  that  Province  by  Leo  J. 
Heffernan,  ACL.  Photograph  is  of  scene  in  Quebec.  Both  these  Provinces  are 
cooperating    in    the    National    Film    Board    contest. 

National  Film  Board  of  Canada 


New  contest  offers 
$500.00  cash  and 
other  big  prizes 


114 


16mm.    scene    by    Dan 
Billman,   jr.,  ACL 


Vne  Clinic 


Technical  comment 
and  timely  topics 
for  the    amateur 

KENNETH     F.     SPACE,     ACL 


Supplementary  lens  holder  w  e 

note 
that  there  is  a  great  increase  in  inter- 
est in  the  use  of  supplementary  lenses 
for  title  work  or  for  other  closeup  film- 
ing. The  device  shown  below  has  been 
suggested  in  the  past  for  use  as  a  filter 
holder,  but  we  believe  that  it  provides 
a  most  convenient  means  of  supporting 
various  supplementary  lenses  in  front  of 
the  camera  lens.  Supplementary  lenses 
usually  are  sold  without  a  means  of  at- 
taching them  before  the  camera  lens. 

The  materials  are  readily  available, 
consisting  of  a  section  of  a  mailing 
tube,  the  bottom  of  a  pill  box  and  several 
covers.  First,  find  a  mailing  tube  of  a 
size  which  will  permit  it  to  slide  snugly 
over  the  barrel  of  the  camera  lens.  If 


Supplementary   lens    holder   made   of   pill    box 

an  exact  fit  cannot  be  found,  the  inside 
of  the  tube  can  be  padded  with  a  few 
layers  of  cardboard,  or  you  can  make 
a  special  tube  from  cardboard.  Cut  a 
short  length  of  this  tube  and  glue  to  it 
the  base  of  a  pill  box  of  appropriate 
size.  Cut  away  all  the  inside  of  the  pill 
box  that  is  not  used  as  a  surface  to  be 
cemented  to  the  mailing  tube.  This  ac- 
tion   will    free    the    entire    area    of   the 


camera  lens.  The  cover  of  the  pill  box 
is  used  to  hold  the  supplementary  lens. 
Tims,  when  the  mailing  tube  is  fitted 
over  the  camera  lens  and  when  the 
cover  of  the  pill  box  is  fitted  over  the 
projecting  base  of  the  pill  box,  the  sup- 
plementary lens  will  be  in  place  before 
the  camera  lens. 

In  the  illustration,  A  is  the  camera 
lens  barrel,  B  the  mailing  tube  section, 
C  the  pill  box  base  and  D  the  box  cover 
which  holds  the  supplementary  lens. 
The  mailing  tube  section  should  not  ex- 
tend too  far  in  front  of  the  end  of  the 
lens  barrel.  It  should  be  only  as  long 
as  is  necessary  to  hold  the  lens  and 
pill  box  firmly. 

Telephoto  shots    Jt  is  risky to  take 

telephoto  pic- 
tures with  the  camera  held  in  the  hand, 
for  the  screen  image  will  invariably 
show  too  much  camera  movement  and 
will  appear  to  be  unsteady.  In  16mm., 
this  warning  applies  to  the  use  of  any 
lens  with  a  focal  length  that  is  greater 
than  two  inches;  and,  even  with  the  two 
inch  lens,  it  is  difficult  to  keep  the  pic- 
ture steady  by  holding  the  camera  in  the 
hand.  When  it  comes  to  applying  this 
rule  to  8mm.,  a  fallacy  creeps  in.  Many 
filmers  think  that  it  is  feasible  to  make 
a  steady  scene  with  an  8mm.  camera 
equipped  with  a  two  inch  lens  that  is 
held  in  the  hand.  Such  a  lens,  however, 
gives  an  equivalent  magnification  to 
that  given  by  a  four  inch  lens  in  16mm. 

Movie  frame  calling  card    From 

Ormal 
I.  Sprungman,  ACL,  comes  this  clever 
"stunt"  of  particular  appeal  to  movie 
makers.  Mr.  Sprungman  writes.  "A 
16mm.  frame  enlargement  of  the  signa- 
ture title  from  one  of  your  movie  films 


Calling     card     made     of     enlargement 
of     frame     of     movie     credit     title 

provides  unique  material  for  a  calling 
card.  Utilizing  a  frame  enlarger,  you 
can  blow  up  the  single  or  double  ex- 
posed title  wording  to  a  negative  of 
standard  calling  card  size  and  you  can 
run  off  prints  on  sturdy,  double  weight 
paper.  A  thin  white  border  gives  the 
card  a  professional  looking  trim."  The 
card  which  is  illustrated  above  is  one 
that  is  used  by  Dan  Billman,  jr.,  ACL, 
who  placed  in  Movie  Makers  Ten  Best 
of  1941  with  his  splendid  film,  South 
of  Honolulu. 

Dual  amplifiers    From    Roger    T. 

Holroyd  comes  the 
following  very  fine  suggestion  for  im- 
proving the  quality  of  your  sound  re- 
production, either  from  your  sound  pro- 
jector or  from  your  record  player  or 
dual  turntable.  Mr.  Holroyd  writes, 
"The  idea  of  using  two  amplifiers  in 
different  parts  of  the  room,  is  one  that, 
to  my  knowledge,  has  never  been  asso- 
ciated with  presenting  music  in  home 
movies,  Tior  with  professional  sound  on 
film.  Disney's  Fantasound  is  based  on 
the  use  of  nine  amplifiers  with  nine 
sound  tracks,  but  this  suggestion  sim- 
ply involves  two  speakers  that  are  ser- 
viced by  the  same  track  or  recording. 
Sound  perspective  is  essentially  the 
same  as  is  sight  perspective,  in  that  our 
ears  detect  the  slight  difference  in  the 
volume  of  sound  which  strikes  each  ear 
drum.  It  is  thus  that  we  determine  from 
what  direction  the  sound  comes.  When 
identical  sounds  strike  each  ear  at  the 
same  time,  this  perspective  is  lost,  and 
the  brain  can  distinguish  neither  dis- 
tance nor  direction.  With  two  speakers 
carrying  your  recording  (or  your  ra- 
dio), the  effect  is  that  'the  air  is  filled' 
with  music,  especially  if  both  speakers 
are  hidden  from  sight.  This  is  an  effect 
that  would  seem  to  be  desirable  when- 
ever spoken  words  are  not  synchro- 
nized with  the  film  and  whenever 
music  is  used  as  an  incidental  ac- 
companiment. The  system  itself  is  sim- 
ple. Place  one  amplifier  behind  the 
screen,  or  preferably  to  one  side  of  the 
screen,  and  place  a  second  at  a  point 
midway  between  the  projector  and  the 
screen  (high  on  the  wall  or  even  in  the 
ceiling,    if   possible).    The   lead   to   the 


115  second  amplifier  is  merely  spliced  into 

the  first.  A  fair  sized  speaker  from  an 
old  radio  will  serve  quite  satisfactorily 
as  the  second  amplifier. 

"An  added  refinement  is  to  incor- 
porate a  rheostat  into  the  second 
speaker  lead.  Then,  as  the  film  opens, 
you  can  use  the  single  amplifier  behind 
the  screen,  thus  directing  the  audi- 
ence's attention  to  the  screen.  As  the 
main  title  fades  and  as  the  first  scene 
appears,  turn  up  the  second  speaker, 
until  both  are  carrying  an  equal  vol- 
ume. If  you  have  a  tone  control  on  both 
amplifiers,  one  may  be  turned  to  treble 
and  the  other  to  bass,  giving  clearer 
than  usual  reproduction  of  both  ranges. 
Giving,  as  it  does,  rich  volume  through- 
out the  room  without  being  'loud'  at 
any  one  spot,  this  system,  you  will  find, 
is  particularly  delightful  for  sustaining 
music  during  the  time  that  you  are 
changing  reels." 

Emergency  patch     Probably 

movie  making 
offers  no  more  embarrassing  moment 
than  that  which  occurs  when  the  film 
or  a  splice  breaks  in  the  midst  of  a 
projection,  especially  if  the  show  is  for 
one's  dearest  friends  and  severest  crit- 
ics— his  fellow  filmers.  In  theory,  the 
best  thing  to  do  is  to  stop,  to  make  a 
splice  quickly  and  then  to  continue  the 
program.  But  did  you  ever  know  any- 
body who,  under  these  conditions,  could 
make  a  quick  splice  that  would  hold 
at  all? 


Punch  type  paper  clip  for  emergency  splice 

We  have,  in  the  past,  suggested  that 
a  roll  of  adhesive  tape  be  kept  handy 
for  such  occasions  as  these.  This  is  the 
best  solution,  but  we  do  realize  that,  in 
making  a  temporary  join,  one  may  lose 
time  in  cutting  or  tearing  off  a  piece  of 
tape  and  in  applying  it  to  the  film.  An- 
other, and  much  faster,  method,  is  to  use 
a  paper  clip  of  the  "punch"  type,  carry- 
ing a  few  in  an  empty  aspirin  tin  (it 
saves  headaches).  Then,  whenever  the 
film  parts,  you  will  need  but  a  moment 
to  stop  the  projector,  to  hold  the  loose 
film  ends  together  and  to  bind  them 
with  a  clip,  as  shown  in  the  illustration 


Device  to  aid  in  rewinding  film  in  darkroom 


at  the  left.  You  can  do  the  job  in  less 
than  half  a  minute,  and  usually  the  pro- 
jector pilot  light  will  provide  enough 
illumination  so  that  you  need  not  turn 
on  the  room  lights.  The  slack  film 
should  be  wound  on  the  takeup  reel, 
and  the  show  can  continue  immediate- 
ly. A  very  important  point  to  be  re- 
membered is  that,  when  you  have  oc- 
casion to  make  such  an  emergency 
patch,  you  should  make  a  good  firm 
film  splice  immediately  after  the  com- 
pletion of  the  showing.  If  you  forget 
to  do  this  chore,  the  metal  clip  may 
cause  serious  damage  to  the  projector 
when  you  screen  the  movie  again. 


REACHING  THE  MOON 
On  some  clear  nights,  the  moon 
seems  to  be  large  and  bright  enough 
to  be  a  good  cine  subject;  but,  when 
you  look  at  it  through  the  camera 
view  finder,  you  will  note  that  it  oc- 
cupies very  little  area  within  the 
frame  if  the  ordinary  lens  is  used. 
Shots  of  the  moon  will  give  you  the 
best  results  if  you  film  them  with  a 
telephoto.  Shoot  the  moon  in  the  early 
evening  while  there  is  still  a  faint 
trace  of  light  in  the  sky,  so  that  the 
outline  of  objects  in  the  foreground 
may  be  seen. 


Dressing  up  the  screen    Arthur 

Farrer 
speaks  for  most  of  us  when  he  says, 
"It  is  the  desire  of  movie  amateurs  to 
give  as  professional  a  show  as  pos- 
sible." He  goes  further  to  tell  us  how 
he  has  adapted  his  screen  to  give  the 
desired  effect. 

"I  have  constructed  a  simple  but  ef- 
fective proscenium  which  greatly  en- 
hances the  appearance  of  my  project- 
ed films.  To  make  it,  a  wooden  support, 
about  eight  inches  longer  than  the 
screen,  is  needed.  You  may  attach  it  to 
the  wall  or  insert  screw  eyes  in  it,  so 
that   it   can   be   hung   from   the   ceiling 


Proscenium  which  frames  screen  and  holds  curtain 


or  picture  molding.  A  pulley  rod.  which 
may  be  obtained  for  about  fifty  cents, 
is  next  needed.  On  the  front  side  of  the 
wooden  support  and  about  one  inch 
from  either  end,  rod  brackets  are 
placed  to  support  the  pulley  rod,  from 
which  you  may  hang  a  curtain  of  your 
own  selection.  I  also  attached  two  more 
brackets,  one  at  each  extreme  end  of 
the  wooden  support  and,  upon  them,  I 
have  placed  an  extended  curtain  rod. 
Along  the  entire  length  of  this  outside 
rod,  I  attached  a  curtain,  hanging  down 
about  four  inches,  to  conceal  the  nulley 
rod  and  to  give  a  true  theatrical  effect. 
This  treatment  may  be  employed  with 
any  type  of  screen.  I  happen  to  use  a 
hanging  screen  which  I  attach  to  the 
bottom  edge  of  the  wooden  support  by 
hooks  and  screw  eyes."  (See  drawing 
below. ) 

Rewind    for    double    exposure 

While  we  admit  that  it  is  a  great  ad- 
vantage to  have  a  camera  with  a  built 
in  back  cranking  device,  not  all  movie 
makers  have  cameras  of  this  type.  We 
know  that  we  can  take  any  movie  cam- 
era into  a  darkroom  or  lightproof 
closet,  remove  the  film  and  rewind  it 
from  one  spool  to  another;  but  this  is  a 
fairly  awkward  job,  for  one  must  hold 
a  spool  in  each  hand  and  turn  both  of 
them  at  the  same  time. 

The  "gadget"  shown  above,  which  may 
be  made  easily,  will  facilitate  rewind- 
ing exposed  film  for  double  exposure 
and  other  effects,  and  it  can  be  used 
in  darkroom,  closet  or  changing  bag.  It 
is  simply  an  oblong  piece  of  wood  that 
is  about  an  inch  thick,  or  less,  and  that 
is  long  enough  to  allow  one  to  cut  open 
slots  in  each  end  that  will  take  camera 
film  spools.  At  points  A  and  B,  holes 
are  bored  through  the  sides  of  the  slots, 
so  that  short  lengths  of  wooden  dowel 
or  metal  bolts  may  be  inserted,  to  serve 
[Continued  on  page  122] 


FROM  DARK  TO  LIGHT 
One  of  the  difficulties  encountered 
in  making  a  long  panorama  is  that 
the  beginning  of  the  "pan"  may 
present  an  entirely  different  exposure 
condition  than  does  the  end  of  it.  The 
first  part  of  the  scene  may  be  in  sun- 
light and  the  latter  part  may  be  in 
deep  shadow.  If  the  filmer  has  a  helper 
who  can  change  the  exposure  as  the 
"pan"  is  made,  the  problem  may  be 
solved.  But  the  best  solution  is  "Don't 
make  the  'pan'!" 


116 


•  A  -full  construction 
plan  tor  editing  desk 
described  here.  Below, 
photographs  of  desk 
built  by  author,  with 
front  closed  and  with 
it  open  ready  for  edit- 
ing. 


Original  design  -  by  Borden  R.  Putnam 


A  BOOKCASE  EDITING  DESK 


Cine  convenience  is  permanent  home  fixture 


Borden  R.  Putnam,  ACL 


BORDEN     R.     PUTNAM,     ACL 

FOR  many  years,  I  have  felt  the  need  for  a  compact  desk  or  cabinet  that  was  suitably 
equipped  and  arranged  for  cine  editing,  splicing  and  film  storage.  I  also  needed 
suitable  shelves  for  magazines,  file  drawers  for  personal  correspondence,  catalogs  and  so 
forth  and  at  least  two  book  shelves  that  were  large  enough  to  accommodate  motion  pic- 
ture and  photographic  magazines  in  binders.  (Such  binders  are  twelve  inches  high,  and 
ordinary  bookcases  do  not  provide  that  much  vertical  space.) 

This  article  and  the  accompanying  sketch  and  photographs  describe  a  piece  of  furni- 
ture that  meets  all  these  requirements. 

The  material  used  was  seven  eighths  by  ten  inch  square  edge  boards  of  knotty  pine, 
and  the  piece  was  finished  with  Minwax  to  a  color  that  is  slightly  darker  than  natural; 
it  was  then  thoroughly  waxed  and  rubbed.  The  light  finish,  showing  the  attractive  grain 
and  knot  pattern,  is  decorative  and  ideal  for  a  room  of  average  size,  where  the  effect 
of  a  large  mass,  that  would  result  from  a  dark  finish,  should  be  avoided.  The  entire  cost 
of  material  used  was  only  about  ten  dollars. 

The  upper  magazine  shelf  is  of  a  width  to  accommodate  such  magazines  as  Time, 
Business  Week,  Motor  Boating  and  others,  and  the  second  shelf  accommodates  Saturday 
Evening  Post,  Life  and  similar  magazines.  The  drop  front  of  the  desk  compartment  is  a 
single  board  with  two  inch  cross  members  at  each  end,  doweled  and  glued  to  the  center 
panel,  to  prevent  warping.  Soss  hinges  were  used,  as  I  wanted  to  conceal  all  metal  hard- 
ware. The  pull  knobs  for  the  drop  front  are  small  wooden  knobs  recessed  in  two  inch 
holes,  three  fourths  of  the  way  through  the  panel,  the  knobs  being  sanded  flush  with  the 
front  of  the  panel. 

Inside  the  desk  compartment,  there  is  ample  room  for  an  editing  board  equipped 
with  two  standard  rewinds,  splicer  and  film  viewer.  An  electrical  outlet  was  placed  flush 
with  the  desk  top  at  the  extreme  left  rear  of  the  compartment,  the  outlet  being  a  com- 
bination switch,  telltale  light  and  outlet,  so  that,  when  the  shutter  of  the  viewer  is  closed 
and  no   light   is  visible,   the  telltale   light   indicates  that  the      [Continued  on  page  122] 


MOVIE    MAKERS 


117 


Hail,  British  Columbia! 

[Continued  from   page   101] 

movies  of  the  sister  ship  of  the  Princess 
Elizabeth.  Then  I  filmed  a  close  up  of  a 
Victoria  traffic  "bobby,"  his  face 
wreathed  in  smiles  as  he  motioned  to 
the  pedestrians,  and  this  scene  is  fol- 
lowed by  a  reaction  shot  of  a  pretty  girl 
in  the  crowd,  who  smiles  toward  the 
"bobby"  as  she  starts  to  cross  the  street. 
The  pedestrians  are  shown  crossing  the 
street,  and  this  scene  dissolves  into  the 
first  of  the  shots  that  I  made  from  the 
truck  on  the  day  before.  In  the  movie, 
this  series  forms  a  natural  beginning 
for  the  camera  visit  to  the  Island  of 
Vancouver. 

On  a  side  street  in  Victoria,  I  chanced 
upon  a  business  establishment  known 
as  Ye  Shady  Pergola  Bicycle  Rentery. 
Signs  advised  passersby  that  bicycles 
could  be  rented  for  "a  shilling  an  hour 
—25c  to  you!"  Rows  of  the  cycles  stood 
mutely  at  attention  in  their  stands  on  a 
low  platform.  Presently  four  young  la- 
dies in  slacks  approached  and  set  about 
the  business  of  choosing  bicycles  for  an 
afternoon  spin. 

One  of  the  girls  glanced  curiously  at 
my  movie  camera  and  its  business  like 
tripod.  This  was  the  cue  that  I  was 
waiting  for  (I  had  been  waiting  for 
more  than  an  hour,  as  a  matter  of  fact) , 
so  I  said  to  her,  "Do  you  suppose  that 
I  could  make  some  movies  of  you  and 
your  friends  during  your  ride?" 

A  hesitant  "Well — yes — I  guess  so" 
sealed  the  fate  of  the  quartet  for  the 
rest  of  the  afternoon. 

One  scene  led  to  another  in  what 
must  have  seemed  to  the  girls  to  be  a 
haphazard  scramble.  Actually,  every 
shot  was  carefully  planned  and  was 
part  of  a  pattern  at  the  back  of  my 
mind.  I  was  gambling  everything  on 
being  able  to  keep  the  girls  working 
until  the  sequence  was  finished.  When 
I  had  finished  one  scene,  I'd  say  to 
them,  "Now,  do  you  suppose  we  could 
do  this — "  and  possibly  end  up  with 
— it  shouldn't  take  very  long." 

In  this  way,  I  made  pictures  of  the 
girls  choosing  and  hiring  their  wheels 
and  shot  closeups  of  them  while  they 
chatted  about  the  best  course  to  take. 
Then  the  quartet  mounted  and  started 
off,  whereupon  the  camera  followed 
them  until  they  turned  a  corner  and 
quickly  rode  out  of  sight. 

The  girls  are  next  seen  riding  along 
a  shady  lane  in  a  park,  and,  after  this 
scene,  there  is  a  short  series  of  shots 
of  various  picturesque  roads.  In  all 
scenes,  the  girls  are  spinning  along  at 
a  gay  pace.  These  shots  are  varied  as 
to  viewpoint,  and,  in  one  scene,  the 
camera  was  placed  on  the  asphalt  in 
the  center  of  the  road,  propped  up  in 
the  front,  to  obtain  what  would  be  a 
worm's  eye  view  of  the  bicycle  riders. 
The  girls  approach  two  abreast  and.  as 


The  "Badge" 
of  the 
Specialist 


T3ACK  a  few  years,  the  "badge"  of  the  press  photographer  was  his  faithful 
-*-*  Graflex.  Today,  the  Graflex  serves  a  far  wider  usefulness.  But  it  is  still 
chosen  because  its  user  wants  to  do  some  special  kind  of  work,  work  which 
may  be  pictorial  or  documentary  or  .  .  .  human  interest.  The  special  uses  of 
Graflex  are  endless. 

The  appeal  of  Graflex  to  the  specialist  lies  in  its  unique  combination  of 
features:  right-side-up  ground-glass  focusing  .  .  .  focal  plane  shutter  speeds 
up  to  1/1000  second  .  .  .  immediate,  visible  means  of  checking  focus,  depth  of 
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Inspect  a  Graflex  at  your  Kodak  dealer's,  with  your  specialty  in  mind. 

Graflex  and  Graphic  cameras  are  made  by  the  Folmer  Graflex  Corp. 

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Load  your  camera,  and  shoot  with 
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WESTON  C^fiosurejMefer 


118 


MARCH    1942 


The  MOVIE  MAKER'S 

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THE  N EGA-FILE  COMPANY 

EASTON,  PENNA. 


they  speed  by,  one  on  each  side,  their 
wheels  miss  the  camera  by  inches.  Their 
destination  is  a  lovely  lake,  and  they 
ride  around  its  shores  until  they  reach 
a  grassy  bank  where  they  dismount  to 
watch  some  swans  swimming  about  in 
the  water.  The  last  scene  of  the  se- 
quence is  of  the  girls  sitting  on  the 
bank,  seen  through  the  spokes  of  a 
bicycle  wheel. 

It  is  easy  to  induce  strangers  to  join 
one's  movie  work,  not  only  as  actors, 
but  even  as  reflector  holders  or  equip- 
ment carriers!  The  main  point  to  keep 
in  mind  is  that  it  is  a  mistake  to  ap- 
proach strangers  and  to  say,  "Would 
you  do  me  a  favor  and — ,"  indicating 
what  you  would  like  them  to  do.  This 
approach  puts  it  to  your  victim  to  make 
a  decision,  "yes"  or  "no,"  and  more 
often  than  not  it  will  be  a  decided  "no." 
The  question,  "Do  you  suppose  you 
could?"  allows  only  one  answer — at 
least,  I  have  found  that  to  be  the  case 
— of  course  they  can! 

When  you  want  a  little  boy  to  do 
something,  say  to  him,  "Do  you  sup- 
pose that  you  are  big  enough  to  climb 
up  on  that  rock  over  there  on  the  shore 
and  toss  this  stone  into  the  water?"  He 
will  be  taken  off  guard  by  the  chal- 
lenge which  these  words  convey  and 
will  do  things  which  he  never  could  be 
coaxed  to  do.  And  the  challenge  is  jus- 
tified: it  takes  pluck  to  act  before  a 
movie  camera  for  the  first  time. 

A  titian  haired  young  lady  named 
Sheila  is  a  case  I  have  in  mind.  She 
happened  to  be  visiting  an  English  inn 
on  Vancouver  Island  when  I  arrived  to 
take  pictures  of  the  inn,  with  its 
thatched  roof  and  leaded  window  panes. 
I  could  see  at  a  glance  that  Sheila  was 
a  lovely  lens  subject,  and  I  lost  no  time 
in  explaining  to  her  how  flat  my  pic- 
tures of  the  inn  would  be  unless  I  was 
able  to  introduce  the  human  element 
somehow — -her,  for  example. 

She  was  rather  shy  but  she  was  too 
nice  to  say  "no"  and  didn't  have  quite 
enough  courage  to  say  "yes" — so  I  kept 
right  on  telling  her  about  the  scenes 
that  I  wranted  to  get,  and  I  outlined  her 
part  in  the  proceedings.  One  of  the 
shots  intrigued  her.  It  involved  a  magi- 
cal change  in  costume,  produced  by 
using  a  dissolve.  Sheila  was  to  stand 
still  in  front  of  the  inn,  and  I  was  to 
shoot  a  few  feet  of  her,  dressed  in  her 
street  ensemble.  I  should  fade  out  this 
shot  and  wind  the  film  back  to  the 
point  where  the  fade  out  began.  Then, 
as  I  explained  to  Sheila,  she  would 
change  into  one  of  the  old  English  cos- 
tumes (I  knew  that  there  were  some 
available  in  a  trunk  in  the  attic  of  the 
inn,  for  they  had  been  shown  to  me 
shortly  before  by  the  proprietor),  and 
I  should  film  her  in  the  costume  while 
she  stood  in  exactly  the  same  position 
as  in  the  previous  scene.  This  scene 
would  fade  in  at  the  same  speed  as  did 
the  preceding  fade  out,  so  that,  in  the 


scene,  it  would  appear  as  if  Sheila's 
clothes  had  changed  at  the  touch  of  a 
fairy  wand. 

That  was  the  idea  which  broke 
Sheila's  resistance,  for  shortly  after- 
ward we  were  making  the  sequence 
that  I  had  planned — a  little  story  tell- 
ing what  just  such  a  girl  as  Sheila 
would  find  interesting  at  the  inn,  and, 
of  course,  she  went  through  her  paces 
with  the  best  views  of  the  inn  directly 
behind  her. 

The  sequence  is  high  lighted  by 
some  clever  acting  on  Sheila's  part. 
There  is  a  shot  that  was  taken  from  in- 
side the  inn,  looking  out  through  a 
large  bay  window  with  leaded  panes. 
On  shelves  inside  the  window  is  the 
inn's  china  collection,  and  Sheila  is  dis- 
covered, with  the  sunshine  back  light- 
ing her  hair,  looking  through  the  win- 
dow from  the  outside.  Her  expression 
as  she  looks  at  the  china  is  hauntingly 
sweet,  and  it  bears  out  the  old  photog- 
rapher's maxim,  "Give  your  model 
something  to  do!" 

When  I  considered  that  I  had  enough 
footage  of  Vancouver  Island,  I  packed 
bags  and  camera  cases  and  traveled  by 
boat  and  train  to  Harrison  Lake,  about 
fifty  miles  southeast  of  Vancouver.  This 
is  a  well  known  spa.  I  put  up  at  the 
Harrison  Hot  Springs  Hotel — a  fortu- 
nate choice,  for  the  assistant  manager 
of  the  hotel  was  most  cooperative.  He 
turned  out  to  be  a  human  dynamo  in 
providing  me  with  cine  material.  It  was 
necessary  only  for  me  to  describe  the 
scenes  that  I  had  in  mind  and  to  tell 
him  how  many  subjects  would  be  re- 
quired. During  my  two  days  at  the  ho- 
tel, he  functioned  as  casting  director, 
property  man.  reflector  boy  and  assist- 
ant director,  and  he  acted  a  comedy 
part  in  one  sequence! 

It  was  over  a  weekend,  and  there 
were  several  hundred  weekend  guests 
at  the  lake,  not  to  mention  the  vaca- 
tionists. Everybody  was  busy  trying  to 
get  in  as  much  tennis,  bowling  on  the 
green,  swimming  or  boating  as  was  hu- 
manly possible  during  his  stay,  and  it 
needed  the  suave  persuasiveness  of  the 
assistant  manager  to  get  guests  to  act 
the  sports  scenes  that  I  was  so  anxious 
to  make.  On  Saturday  afternoon.  I 
made  sequences  which  told  a  short 
story  of  the  tennis  matches,  and  I  even 
took  the  camera  on  the  courts  for 
flashes  of  play  and  action  closeups 
which  could  be  obtained  in  no  other 
way. 

On  Sunday,  we  made  a  short  record 
of  a  game  of  bowling  on  the  green,  and 
this  sequence  was  followed  by  a  more 
elaborate  sequence  of  a  group  of  girls 
in  bathing  suits  as  they  played  about 
on  the  lawns  and  beaches  of  the  hotel. 
This  latter  sequence  ends  naturally  in 
a  fade  out  when  the  girls  dive  off  a 
dock  into  the  water. 

During  the  afternoon,  two  young 
ladies  were  accompanied  by  the  camera 


MOVIE    MAKERS 


119 


during  a  trip  by  horseback  to  one  of  the 
mountain  tops.  and.  naturally,  this  ac- 
tion was  filmed  so  as  to  take  advantage 
of  the  scenic  glories  of  the  lake  and  the 
mountains  which  surround  it. 

At  six  o'clock  the  next  morning,  I 
traveled  by  motor  launch  up  Harrison 
Lake  for  twenty  miles  to  the  Clark 
Lumber  Camp.  I  had  been  warned  that 
my  reception  might  be  cool,  for  logging 
bosses  know  the  danger  to  bystanders 
during  lumbering  operations.  When  I 
went  ashore,  I  met  Cliff  Clark,  one  of 
the  partners,  who  was  just  about  to 
drive  six  miles  into  the  mountains  to 
the  site  where  big  timber  was  being 
felled.  Sure,  there  was  room  for  me  in 
the  dilapidated  Ford!  As  we  drove 
along,  Cliff  confided  that  he,  too,  was  a 
16mm.  movie  "fan"  and  had  just  re- 
ceived his  first  roll  of  Kodachrome  back 
from  the  processing  station.  "I  ran  the 
pictures  through  the  projector  ten  times 
and  just  couldn't  believe  /  had  made 
such  beautiful  color  movies,"  said  Cliff. 
He  planned  to  make  a  movie  covering 
the  logging  industry,  and  it  was  evident 
that  my  new  friend  had  given  the  mat- 
ter considerable  thought,  for  he  whisked 
me  about,  when  we  reached  the  place 
where  the  lumberjacks  were  working, 
from  one  spot  to  another.  It  would  have 
taken  days  for  me  to  find  these  view- 
points for  myself.  I  shot  huge  piles  of 
slender  logs  —  telephone  poles.  Cliff 
called  them — and  my  camera  whirred 
as  I  filmed  an  ''up  and  over,"  which  is 
a  logging  maneuver  performed  with  the 
aid  of  a  derrick.  I  filmed  two  men  as 
they  sawed  at  the  base  of  a  Douglas 
Fir,  then  '"panned"  slowly  to  the  top  of 
the  forest  giant.  I  had  barely  reached 
the  top  when  I  heard  the  cry  of  "Tim- 
ber," and  the  great  tree  toppled  over 
and  crashed  to  the  ground,  causing  the 
earth  to  quake  under  my  feet.  Cliff 
whisked  me  atop  the  trunk  of  the  fallen 
giant  and  told  me  to  film  the  lumber- 
jacks as  they  sawed  the  tree  into  sec- 
tions. A  wide  angle  lens  was  snapped 
into  place  for  this  shot,  and  the  camera 
was  pointed  obliquely  downward,  so 
that  the  lines  of  the  tree  trunk  entered 
the  scene  from  both  corners  of  the  low- 
er margin  and  converged  at  the  top  cen- 
ter of  the  picture.  On  the  screen,  this 
scene  gives  a  very  good  idea  of  the 
great  size  of  the  tree. 

Then  I  made  shots  of  the  "cats,"  the 
tractors,  dragging  the  logs  out  of  the 
forest  and  dropping  them  alongside  the 
truck  on  which  they  are  loaded  for  the 
downhill  trip  to  the  lake.  I  filmed  all 
this,  and  a  final  shot  showed  a  truck- 
load  of  logs  being  dumped  into  the 
lake,  to  be  towed  to  the  lumber  mills. 
In  less  than  three  hours,  I  had  made 
scenes  of  practically  all  logging  opera- 
tions and  I  felt  that  I  could  not  have 
done  better  if  I  had  spent  a  month  at 
the  camp. 

I  might  have  spared  myself  much 
worry  during  my  journeys  through  Brit- 


Vwt0faca> 


have  ever  produced.    They      F •  q  ^ 

of  steady  improvements    skil    an     P  ^ 

-nufacture.    Tributes  to  tto  £j  ^  ^ 

An  act  it  vou  will  rina 
but  when  you  do  get    tV 

it's  worth  waiting  for  a  wo 


<?k 


%v 


: 


f/m 


ROCHESTER,  U.  S.  A. 


AID 


FOR 


AND 


PRODUCTS 

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CORP. 

NEW  YORK.N.Y 


Prevent    injury  .  .  .   prevent   damage,   prolong    life   .  .  .  save 

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SECT 


FILM     CLEANING     MACHINES 


120 


MARCH    1942 


PROFESSIONAL,  JR."  TRIPOD 


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ish  Columbia  could  I  have  foreseen  the 
good  fortune  which  awaited  me  in 
Banff.  There  I  found  a  talented  young 
lady,  of  the  staff  of  the  Banff  Springs 
Hotel,  and  Constable  William  Neff,  of 
the  Royal  Canadian  Mounted  Police, 
who  were  persuaded  to  act  the  roles  of 
the  girl  and  the  "Mountie."  Neither  had 
ever  acted  before  a  movie  camera,  but 
it  did  not  take  them  long  to  assume  the 
mannerisms  and  tricks  of  the  experi- 
enced play  actor.  Coaching  was  neces- 
sary, of  course,  but  shooting  the  story 
sequences  progressed  so  smoothly  that 
all  the  needed  continuity  scenes  were 
made  in  one  day,  with  but  a  single  re- 
take the  next  day. 

Hail,  British  Columbia!  is  really  a 
compilation  of  vastly  different  types  of 
material  that  is  held  together  by  the 
running  theme  of  the  "Mountie"  an- 
swering questions  about  the  province. 
I  took  a  long  chance  on  the  possibility 
that  the  story  idea  would  not  hold  the 
picture  together — but  it  did!  I  can  rec- 
ommend others  to  try  the  dramatic 
theme  for  a  travel  film. 

What  wide  angle 
lenses  do 

[Continued  from  page  103] 

popular,  because,  if  one  wishes  a  wide 
angle  effect  at  all,  there  is  usually  a 
need  to  go  "all  out"  on  it.  Some  of 
the  earlier  16mm.  movie  cameras  were 
fitted  with  20mm.  lenses  as  regular 
equipment  in  order  to  give  a  partial 
wide  angle  effect. 

It  is  an  optical  truism  that  the  depth 
of  field  increases  as  the  focal  length 
decreases,  other  things  being  equal. 
Consequently,  the  wide  angle  lens,  be- 
ing a  short  focus  objective,  enjoys  this 
advantageous  property.  Because  of  this 
fact,  we  find  that  many  wide  angle 
lenses  are  of  the  fixed  focus  type,  under 
which  arrangement  they  perform  very 
well.  Because  of  its  shorter  focus,  the 
wide  angle  lens  has  greater  tolerances 
as  a  fixed  focus  lens  than  does  the  regu- 
lar 25mm.  or  one  inch  lens. 

Still  photographers  tell  us  that  the 
wide  angle  lenses,  made  for  cameras 
which  take  large  pictures,  have  to  be 
carefully  inspected  to  be  sure  that  they 
"cover."  This  point  means  that,  on 
large  images,  there  may  be  a  loss  of 
illumination  and  of  definition  around 
the  edges  of  the  picture.  Luckily,  this 
does  not  usually  occur  in  movie  work 
because  of  the  inherently  small  size  of 
the  image  on  the  film. 

Wide  angle  lenses  usually  come  in 
fast  and  moderate  speeds,  and  it  is  the 
universal  practice  to  supply  the  fast 
ones  in  focusing  mounts.  As  with  any 
lens,  focusing  should  be  more  carefully 
performed  at  the  wider,  faster  stops, 
even  though  the  wide  angle  lens  grants 
more  tolerance  in  this  direction. 


What  about  the  wide  angle  lens  for 
8mm.  cameras?  Here,  physical  limita- 
tions must  necessarily  operate.  The 
normal  taking  lens  for  an  8mm.  camera 
has  a  focal  length  of  ^V^mm.,  or  about 
half  an  inch.  It  is  obvious  that  such  a 
lens  must  be  set  pretty  close  to  the  film 
when  it  is  mounted  in  the  camera.  We 
must  consider,  also,  that  there  is  a 
necessary,  inner  extension  of  the  lens 
barrel  that  must  occupy  some  of  the 
available  space.  There  must  also  be  left 
a  space  between  lens  and  aperture  for 
the  movement  of  a  revolving  or  recipro- 
cating shutter.  Now,  to  make  a  short 
focus  lens  for  8mm.  which  would  give 
the  same  increased  field  as  does  the 
wide  angle  lens  on  the  16mm.  camera, 
the  corresponding  focal  length  for  8mm. 
would  have  to  be  7%mm.,  or  a  little 
over  one  quarter  of  an  inch.  A  lens  of 
this  short  focal  length  is  not  feasible 
for  the  ordinary  camera,  because  of 
the  space  limitations  outlined  above. 

But  8mm.  owners  need  not  by  any 
means  resign  themselves  to  a  complete 
lack  of  wide  angle  facilities.  Supple- 
mentary lens  auxiliaries  have  been 
made  available  which,  when  attached 
to  the  front  of  the  regular  taking  lens, 
will  widen  the  normal  8mm.  field  to 
give  a  genuine  wide  angle  effect.  These 
supplementary  lenses  are  made  by  sev- 
eral manufacturers;  and,  in  using  one, 
the  movie  maker  simply  screws  it  on 
the  front  of  the  regular  lens  in  place 
of  the  lens  shade.  Beyond  widening  the 
included  field,  they  do  not  affect  the 
focus,  definition  or  other  properties  of 
the  taking  lens  in  any  way.  They  may 
be  used  with  complete  confidence  in 
accordance  with  the  instructions  sup- 
plied by  the  manufacturer. 

How  we  made 
'The  Black  Rider" 

[Continued   from    page    107] 

spectacular  enough  for  our  purpose. 

I  wanted,  instead,  to  give  the  impres- 
sion that  buildings  were  directly  below 
the  cliff  and  that  the  hero  jumped  down 
to  the  roof  of  one.  Actually,  the  build- 
ings were  too  great  a  distance  from  the 
cliff  for  this  leap. 

Finally,  we  took  a  full  shot  of  the 
hero  on  the  edge  of  the  cliff,  framed  so 
that  an  unseen  structure  could  have 
been  below  him.  This  scene  is  followed 
by  a  closer  shot  of  the  hero,  which 
"flash  pans"  away  from  him  into  the 
sky  and  down.  Next  comes  another 
flash  from  the  sky  down  to  the  tank. 
When  we  cut  the  picture,  only  a  few 
frames  of  the  sky  were  left,  to  make  it 
appear  that  the  distance  between  the 
cliff  top  and  the  roof  of  the  water  tank 
was  not  too  great.  The  hero,  framed 
against  the  sky,  jumps  into  space  from 
a  small  ledge;  then  there  is  a  flash  of 
him  coming  through  the  air  and  land- 


MOVIE    MAKERS 


121 


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ing  on  the  tank.  In  making  the  latter 
scene,  the  hero  stood  on  the  roof  and 
jumped  upward  about  a  foot  and  partly 
out  of  the  top  of  the  frame.  The  up- 
ward portion  of  the  jump  was  cut  out, 
and  only  the  portion  of  the  hero  com- 
ing from  out  of  the  frame,  to  land  on 
the  tank,  is  used.  In  the  background, 
a  cliff  can  be  seen,  and  it  appears  that 
the  hero  jumped  from  it.  Actually,  the 
cliff  was  a  hundred  feet  away,  but  the 
scene  is  so  short  that  the  audience  does 
not  realize  the  distance. 

When  a  stranger  approached  the 
secret  hideout  in  our  story,  one  outlaw 
guard  was  supposed  to  signal  another. 
Some  visual  signal  was  needed,  as  a 
whistle  or  anything  that  was  supposed 
to  be  audible  would  not  be  effective  in 
a  silent  film.  So  the  first  outlaw  flashed 
a  small  hand  mirror  directly  into  the 
lens  of  the  camera,  in  a  sort  of  dot  and 
dash  code.  The  second  outlaw  gets  the 
message  by  the  light  of  the  mirror 
flashing  in  his  face.  The  second  outlaw 
is  first  seen  through  a  closeup  of  the 
mirror,  held  in  the  first  outlaw's  hand. 

Our  "running  gag"  in  The  Black 
Rider  is  the  continual  perseverance  of 
the  comedy  lead  in  trying  to  solve  an 
old  nail  puzzle.  Several  times,  he  near- 
ly succeeds,  but  something  always  pre- 
vents it.  In  the  end.  of  course,  he  solves 
the  puzzle.  In  one  sequence,  the  fellow 
is  sitting  on  a  sawhorse  at  the  top  of 
a  ditch.  The  puzzle  almost  parts  when, 
suddenly,  the  wooden  horse  breaks  un- 
der his  weight,  spilling  him  into  the 
ditch.  Instead  of  getting  him  actually 
to  roll  down  into  the  ditch,  we  created 
the  impression  that  he  did,  by  cutting. 
There  is  a  medium  close  shot  of  him 
against  the  sky,  supposedly  sitting  on 
the  horse,  but  actually  he  is  seated  on 
the  ground.  This  scene  is  followed  by  a 
close  shot  of  the  wooden  horse's  leg 
breaking.  Then  there  is  a  cut  back  to 
the  medium  close  shot  of  the  actor.  He 
leans  out  of  the  scene  and  throws  his 
legs  into  the  air.  A  quick  "pan"  down- 
ward to  a  view  of  the  ditch  and  a  full 
shot  of  the  actor  lying  still  at  the  bot- 
tom of  the  ditch,  with  the  remains  of 
the  sawhorse,  complete  the  sequence. 

Near  the  end  of  the  feature,  the  hero 
commands  the  mystery  man  to  "take  off 
that  mask!"  To  get  a  quick  zoom  up 
to  the  surprised  face  of  the  hero,  the 
cameraman  stood  on  the  bumper  of  a 
car,  and  the  car  was  driven  forward  a 
foot  or  so.  This  foreward  motion  proved 
to  be  too  slow  for  the  effect  needed.  So 
the  cameraman  tried  holding  the  cam- 
era firmly  in  his  hands  while  he  leaned 
as  far  backward  as  possible.  (He  stood 
with  one  foot  far  behind  the  other.) 
Then  he  swayed  forward  as  fast  as  pos- 
sible, carrying  the  running  camera 
focused  on  the  hero's  face.  The  result 
was  just  right. 

For  our  riding  scenes,  we  were  for- 
tunate in  finding  a  hill  that  runs  paral- 
lel with  a  highway.  By  shooting  from 


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a  car,  we  could  film  long  dolly  shots  of 
the  hero  chasing  the  outlaw.  The  cam- 
eraman shot  these  scenes  by  lying  on 
the  roof  of  the  car.  Naturally,  we  cre- 
ated quite  a  show  for  drivers  along  the 
highway.  Many  stopped  and  asked 
what  we  were  doing.  One  man  took 
shots  of  filming,  and  the  next  day  he 
gave  us  a  tripod  and  a  viewer.  The 
tripod  came  at  a  most  crucial  moment, 
because  our  own  tripod  was  patched 
with  tape  in  three  places,  after  it  had 
been  trampled  on  by  horses,  and  once 
it  had  fallen  from  a  cliff. 

A  bookcase 
editing  desk 

[Continued    from    page   116] 

current  is  on.  At  each  side  of  the  cen- 
tral compartment  are  shelves  to  accom- 
modate 400  foot  reels  of  16mm.  film  in 
cans. 

The  desk  compartment  is  also  equipped 
with  a  twelve  inch  Lumiline  light  with 
attached  switch  concealed  behind  the 
apron,  as  indicated  on  the  plan.  This 
apron,  of  one  half  inch  pine,  shields 
and  diffuses  the  light  source,  and  the 
light  itself  gives  good  general  illumina- 
tion to  the  entire  working  surface  of  the 
desk.  In  operation,  the  editing  board  is 
lifted  forward,  resting  on  the  lowered 
drop  front  of  the  desk. 

The  top  drawer  of  the  right  hand  ped- 
estal contains  a  piece  of  one  inch  mate- 
rial, cut  to  fit  the  inside  dimensions  of 
the  drawer,  bored  through  with  twenty 
five  holes  of  two  and  one  quarter  inch 
diameter.  The  bottom  of  the  drawer, 
which  forms  the  bottom  for  these  twenty 
five  compartments,  is  suitably  num- 
bered, so  that  film  placed  in  each  com- 
partment can  readily  be  identified.  In 
use,  strips  of  film  or  titles  are  placed  in 
compartments  as  they  are  cut,  and  the 
subject  and  compartment  number  are 
noted  on  a  pad.  Reassembling  and  splic- 
ing are  thus  easily  and  quickly  accom- 
plished by  reference  to  the  pencil  notes. 

The  top  left  hand  drawer  is  made 
only  fourteen  inches  deep,  to  allow  room 
at  the  back  of  the  drawer  for  the  recep- 
tacle outlet  previously  referred  to. 

The  backs  of  the  cabinet  and  of  the 
desk  pedestals  are  one  quarter  inch  ply- 
wood, as  are  the  shelves  for  the  film 
cans. 

In  the  construction  of  the  piece,  rab- 
bet grooves  were  run  on  a  power  saw 
for  all  joints,  which  were  secured  with 
one  and  a  quarter  inch  No.  6  screws 
and  Casco  glue,  which  provided  a  strong 
construction.  However,  flush  joints,  prop- 
erly glued  and  fastened  with  screws, 
would  give  a  good  result.  The  top  sec- 
tion was  completed  first  and  was  fast- 
ened, as  indicated,  to  the  desk  top.  The 
pedestals  were  then  fastened  to  the  desk 
top,  working  from  the  top.  All  exposed 
screws  were  set  in  three  eighths  inch 


counterbored  holes  and  were  covered 
with  plugs  that  had  been  cut  with  a 
plug  cutter  on  a  drill  press  from  body 
material.  If  plug  cutting  equipment  is 
not  available,  plugs  can  be  purchased 
in  any  type  of  wood  for  the  purpose  in- 
dicated. Plugs  were  set  with  the  grain 
of  the  body  material;  then  they  were 
glued  and  sanded  flush.  This  method  of 
covering  the  screws  presents  a  very  at- 
tractive appearance,  simulating  the  peg 
fastenings  used  in  colonial  furniture; 
but  it  is  not  necessary,  as  plastic  wood 
could  be  used  for  covering  screw  heads. 

The  front  and  back  aprons  joining 
the  desk  pedestals  were  cut  flush  and 
were  screwed  fast  through  the  sides  of 
the  pedestals.  Drawer  pulls  were  cut 
from  the  body  material,  although  suit- 
able wooden  pulls  could  be  purchased. 
Carving  on  the  drop  front  of  the  desk 
and  routing  on  the  drawer  fronts  were 
done  with  a  quarter  inch  router  bit  in 
the  drill  press.  It  is  strongly  recom- 
mended that  exposed  metal  hardware 
be  avoided,  as  it  detracts  from  the  fin- 
ished appearance  of  knotty  pine. 

I  found  that  the  power  saw  and  drill 
press  contributed  greatly  to  the  speedy 
construction  of  this  piece  of  furniture, 
but  it  could  easily  be  constructed  with 
only  basic  hand  tools — actually,  I  think, 
with  only  a  saw,  hand  drill,  screw  driv- 
er, plane  and  plenty  of  sandpaper. 

The  clinic 

[Continued   from    page    115] 

as  axles  upon  which  the  spools  can 
revolve.  The  axles  should  fit  loosely  so 
that  they  may  be  removed  easily.  In 
use,  the  device  is  held  in  the  left  hand, 
while  the  spool  upon  which  the  film  is 
being  taken  up  is  revolved  by  the  right 
hand. 

Ready  made  end  titles  Many  fic- 
tion mag- 
azines conclude  each  story  with  a  deco- 
rative design  or  cartoon,  in  which  are 
incorporated  the  words,  "The  End." 
Lloyd  G.  Miller.  ACL,  noticed  this 
point  and  made  a  wide  collection  of 
various  types  of  these  designs  for  use 
with  his  films.  The  designs  are  usually 
of  a  size  that  will  fit  well  in  the  com- 
mon small  titlers,  and  it  is  quite  easy 
to  find  appropriate  material  to  suit  al- 
most any  type  of  film  subject.  Often  it 
is  possible  to  paste  the  design  on  a  pat- 
tern background. 


PROTECT  YOUR  CAMERA  SPOOLS 
Do  not  drop  your  camera  spools. 
They  may  strike  the  ground  or  the 
floor  in  such  a  way  as  to  dent  the 
flange  or  to  bend  it  slightly.  This 
occurrence  will  cause  the  film  to  bind 
on  the  camera  takeup,  and,  as  a  result, 
a  valuable  film  may  be  spoiled.  Metal 
spools  are  at  a  premium  now,  so  it 
behooves  one  to  be  especially  careful 
in  this  respect. 


MOVIE    MAKERS 


123 


THE  NEW  ACL  LEADER 


THE  new  League  leader,  just  released 
in  both  8mm.  and  16mm.  film  widths, 
combines  tricks  of  animation  and  opti- 
cal printing  with  straight  filming  of  an 
unusual  type.  It  was  created  by  Ted 
Nemeth,  an  outstanding  producer  of 
professional  leaders  and  industrial  films. 
In  the  League  leader,  we  feel  that  he 
has  done  some  of  his  most  interesting 
work. 

The  new  leader  represents  a  special 
innovation,  in  that  it  is  both  a  leader 
and  a  "The  End"  title.  The  first  part 
of  the  film  strip  is  spliced  to  the  begin- 
ning of  a  picture  to  serve  as  an  intro- 
ductory leader,  while  the  latter  part  is 
spliced  at  the  end  to  serve  as  a  final 
title.  Two  blank  frames  separate  the 
leader  section  of  the  film  strip  from 
'"The  End"  title,  making  it  easy  for  one 
to  find  the  spot  at  which  to  cut  the 
leader  into  its  two  sections. 

League  leaders  are  sent  automatically 
to  ACL  members  when  they  renew  their 
memberships.  They  are  also  available 
at  cost  prices  as  follows:  8mm.,  fifty 
cents;  16mm.,  sixty  cents. 

Although  the  leader  must  be  seen  to 
be  appreciated,  we  shall  try  here  to  give 
a  brief  description  of  the  effects  that 
are  involved. 

At  the  fade  in.  a  film  reel  is  seen 
silhouetted  against  a  pattern  of  light 
rays  and  shadows  on  the  background. 
The  reel  fills  almost  the  entire  screen 
and,  in  a  moment,  the  words  Member  of 
wipe  across  at  the  upper  left.  A  large 
A  now  zooms  up  at  the  upper  center  of 
the  film  reel,  and  it  is  followed  by  the 
letters  C  and  L,  as  they  zoom  into  place 
below  the  A.  The  remainder  of  the  word 
Amateur  wipes  up  after  the  A,  the  bal- 
ance of  the  word  Cinema  wipes  down 
opposite  C  and  the  rest  of  the  word 
League  wTipes  up  to  complete  the  word 
suggested  by  the  L. 

The  title  lettering  is  next  completely 
wiped  off  by  a  vertical  "barn  door"  wipe, 
and  a  square  iris  opening  zooms  for- 
ward, to  block  out  the  reel  silhouette 
and  at  the  same  time  to  reveal  A  C  L. 
in  block  letters,  slowly  revolving  on  a 
background  of  spiral  lines.  The  letters 
T,  H  and  E  are  animated  into  view,  and 
beneath  them  the  word  World  wipes  up 
at  the  same  time  as  the  word  Wide 
wipes  down.  Below'  this  group  of  words, 
the  phrase  Organization  of  Movie  Makers 
comes  into  view  by  a  "screw7ball"  or 
swirl  wipe.  All  this  lettering  is  now 
wiped  out  by  a  diagonal  "barn  door" 
wipe,  and  the  ACL  background  fades 
out. 

The  End  title  has  only  one  back- 
ground, this  being  the  letters  A  C  L  in 
block  type  with  rays  of  light  in  motion, 


announcing! 

Auricon 

SOUND 
CAMERA 

for  16  mm  sound  -  on  -film 


k  Simplified  Threading 
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weigh  only  thirty-seven  pounds. 

k  Kodachrome  or  black  and  white  pictures 
with  Auricon  sound  track  will  reproduce 
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■k  Synchronous  electric  motor  driven. 

*  Can  be  operated  in  the  field  from  an 
Auricon  Portable  Power  Supply. 

*  Daylight  loading  spools  with  200-foot  film 
capacity. 

*  Auricon  Camera  with  type  "C"  lens  mount 
(but  without  lens)  and  Amplifier  complete 
with  microphone,  instructions,  and  cases 

S880.00 


AURICON  16  mm  RECORDER 

k  Variable-area  sound  on  film,  for  double 
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driven  16  mm.  camera.  Amplifier  has  back- 
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Ask  your  Dealer,  or  write  today 
for  free   descriptive   booklet. 

AURICON  2>«*Uo«, 
E.  M.  BERNDT  CORP. 

5515   SUNSET   BLVD.,  HOLLYWOOD,  CALIF. 


MANUFACTURERS  OF  SOUND-ON-FILM 
RECORDING  EQUIPMENT  SINCE  1931 


124 


MARCH    1942 


Commonwealth 

establishes 
RENTAL   LIBRARY 

IN   16MM  SOUND 

The  best  film  news  of 
the  year  for  home  movie  fans! 
Yesterday,  you  could  only  buy 
these  outstanding  quality  films 
from  Commonwealth.  Today,  you 
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them  !  Top  producers  and  stars  .  . . 
biggest  Hollywood  hits!  Have 
such  stars  as  Hedy  LaMarr, 
Charles  Boyer,  Leslie  Howard, 
etc.  perform   in  your  shows! 

FREE! 


New  Film  Library  Catalog. 
Write  to  Dept.  24  for  your 
copy  today! 


COMMONWEALTH  PICTURES 

CORPORATION 

729  Seventh  Ave.,  New  York,  N.  Y. 


Have     you     seen     the     brand      new 
Amateur    Cinema     League     Leader? 

It's  the  latest  in  movie  trick  work — the  best 
leader  yet.  Renew  your  ACL  membership  in 
advance   and  get  one  free. 

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HARTLEY  SCHOOL  OF  FILM  MAKING 
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Basssaif* 

only  $23.65 

for  this  Craig   Jr. 
16mm    Editor 

(discontinued     model) 


Formerly  $3  I  .50 
.  .  .  complete  editing 
outfit  ...  no  flicker 
.  .  .  stop  motion  any- 
where .  .  .  easy  to 
cut  and  splice  .  .  . 
complete. .    $23.65 


^H-B'.'J|i.M.I».|Ji4JWJ!H*M.«HW 


radiating  from  the  upper  left  corner,  as 
part  of  the  pattern.  The  words  The  End 
are  revealed,  small  in  size,  by  a  vertical 
"barn  door"  wipe;  then  they  zoom  for- 
ward until  they  fill  the  screen  before 
fading  out.  At  this  point,  the  ACL 
fades  out,  and  thus  ends  the  leader. 

Practical  films 

[Continued   from    page    108] 

Agriculture,  Engineering  and  Home 
Economics.  In  production  are  similar 
movies  about  the  divisions  of  Science 
and  Veterinary  Medicine.  These  sub- 
jects are  on  16mm.  black  and  white 
film,  with  sound  to  be  added  later. 
Three  Kodachrome  silent  films  of  scenes 
about  the  campus  are  Campus  Events, 
Campus  Beautiful  and  Campus  Person- 
alities. All  new  material,  according  to 
H.  L.  Kooser,  director,  is  being  shot  at 
sound  speed  for  the  addition  of  com- 
mentary. 

Dental  Film  in  Color 

Practical  Preventative  Orthodontics  is 
the  title  of  a  recently  completed  dental 
production  by  Max  J.  Futterman,  D.D.S. 
With  the  assistance  of  Leo  Schwartz, 
D.D.S.,  Dr.  Futterman  filmed  this  700 
foot  film  of  corrective  dentistry. 

"City"  Honored 

So?ig  of  a  City,  which  won  Honorable 
Mention  in  the  Special  Class  for  1941, 
was  produced  by  John  Flory,  ACL,  for 
the  Cleveland  Trust  Company.  The 
film  had  its  premiere  on  September  9 
before  a  combined  meeting  of  the 
Cleveland  Chamber  of  Commerce,  the 
Cleveland  Advertising  Club  and  the 
Financial  Advertisers  Association.  It  is 
a  sweeping  film  record  of  that  city, 
complete  with  a  musical  background 
by  the  Cleveland  Symphony  Or- 
chestra, conducted  by  Dr.  Rudolph 
Ringwall.  With  a  running  time  of  forty 
five  minutes,  this  16mm.  Kodachrome 
work  was  produced,  written  and  di- 
rected by  Mr.  Flory.  Other  credits  are: 
cameraman,  Richard  C.  Taylor;  sound, 
Dr.  J.  S.  Begun,  Al  Dank  and  Thomas 
Lynch;  narrator,  Nick  Burnett  of  Sta- 
tion WHK.  Mr.  Flory's  production  as- 
sistants were  James  Card,  jr.,  John 
Paul  Miller,  Frank  Bican  and  James 
Riley. 

The  film's  distribution  is  limited,  for 
the  present,  to  schools,  clubs  and  other 
groups  in  the  Cleveland  area.  A  card 
to  Mr.  Flory,  2265  Stillman  Road, 
Cleveland  Heights,  Ohio,  will  bring  in- 
formation on  future  additional  distribu- 
tion. 

Magazine  Film 

Castle  Films,  of  New  York  City,  pro- 
duced, last  spring,  The  Making  of  a 
Magazine  for  the  C.  T.  Dearing  Print- 
ing Company.  The  film  presents  the 
facilities   of   the   Dearing   company   for 


printing  and  distributing  publications 
with  large  circulations.  In  16mm.  size, 
with  sound,  the  film  contains  both  color 
and  black  and  white  scenes.  The  credits 
are  as  follows:  director  and  writer,  Wil- 
liam B.  Laub;  cameraman,  John  Le- 
panne;  narrator,  Erik  Rolf;  music, 
Edward  Craig. 

A.R.P.  Teaching  Films 

Walter  O.  Gutlohn,  Inc.,  of  New 
York  City,  is  distributing  two  A.R.P. 
films  which  were  made  in  England  dur- 
ing the  "blitz,"  to  instruct  civilians  in 
home  defense  measures.  Stop  that  Fire! 
is  a  one  reel,  sound  movie  describing 
various  ways  of  dealing  with  incendiary 
bombs  and  the  fires  caused  by  them. 
The  Warning,  a  three  reel,  sound  on 
film  production,  is  a  lengthier  and  more 
comprehensive  treatment,  setting  forth 
in  some  detail  the  proper  steps  for  the 
civilian  to  take  before,  during  and  after 
an  air  raid.  This  film  is  distinguished 
for  its  remarkable  editing  and  cutting; 
the  confused  inferno  of  London  ablaze 
becomes  a  highly  instructive,  well  knit 
production.  The  Warning  was  produced 
by  Alliance  Pictures,  under  the  direc- 
tion of  Audrey  Baring.  R.  O.  McNaugh- 
ton  edited  the  film  and  Ronnie  Munro 
handled  the  music. 

Alaska  for  All 

After  a  stay  of  two  years  in  Alaska, 
J.  Albert  Paradis,  jr.,  ACL,  has  com- 
piled a  film  record,  called  Alaska — 
Uncle  Sams  Attic.  In  1200  feet  of 
Kodachrome,  the  audience  travels  to 
the  towns  of  Ketchikan,  Juneau,  Sew- 
ard, Anchorage  and  Fairbanks,  among 
others,  and  sees  such  sights  as  the  In- 
side Passage,  Mendenhall  Glacier  and 
the  Ice  Carnival  in  the  Arctic  Circle. 
Mr.  Paradis  shows  this  film  to  clubs 
and  other  organizations,  along  with  an 
interesting  display  of  Alaskan  curios. 

Cattle  Ranch  Filmed 

Arthur  B.  Ramsey,  of  Ramsey  Pic- 
tures in  Oklahoma  City,  announces  the 
release  throughout  the  State  of  an  1100 
foot  sound  movie  of  the  Turner  ranch, 
near  Sulphur.  Okla.  The  picture  was 
produced  for  Roy  J.  Turner  and  shows 
the  operation  of  a  modern  Hereford 
cattle  ranch  over  a  period  of  a  year. 
Hay  bailing,  cattle  vaccination,  train- 
ing for  show,  roundup  and  annual 
shows  are  among  the  activities  de- 
picted. Color  prints  are  being  distrib- 
uted in  Oklahoma  by  its  two  univer- 
sities and  by  both  the  4-H  and  FFA 
Clubs.  A  musical  background  by  the 
orchestra  of  Ramsey  Pictures  and  a 
commentary  make  this  a  well  rounded 
production. 


MOVIE    MAKERS 


125 


A    THREE   FAMILY  FILM 


THREE  families  in  Salt  Lake  City, 
fathers,  mothers  and  children,  co- 
operated this  past  year  to  make  a  de- 
lightful film  version  of  the  fairy  tale, 
Snow  White  and  Rose  Red.  The  grown- 
ups collaborated  in  preparing  the  sce- 
nario which  the  children  acted,  and  all 
three  fathers,  R.  LeRoy  Fletcher,  ACL, 
John  Huefner  and  Theo  Merrill,  filmed 
the  story.  There  seem  to  be  four  rea- 
sons for  the  charm  which  pervades  the 
film — a  pleasant  story,  attractive  chil- 
dren as  actors,  delightful  sets  and  cos- 
tumes and,  in  general,  sound  camera 
work.  We  sense  that  everybody  con- 
nected with  this  film  thoroughly  en- 
joyed doing  his  share  to  make  it  a  suc- 
cess. The  story  behind  the  production 
attests  to  the  truth  of  this  statement. 

The  plan  was  hatched,  according  to 
Mr.  Fletcher,  last  winter,  and  the  six 
adults  met  twice  a  month  to  plan  and 
to  write  the  scenario,  which  was  to  be 
shot  during  the  summer.  During  the 
latter  part  of  June  and  July,  the  fam- 
ilies went  on  location  to  a  canyon  near 
Salt  Lake  City.  While  the  men  con- 
cerned themselves  with  problems  of 
lighting  and  exposure,  the  children 
played  and  hiked  near  by.  When  all 
was  in  readiness,  the  wives  dressed  the 
young  actors  and  actresses  in  their 
homemade  costumes,  and  the  shooting 
began,  to  be  terminated  at  noon  by  a 
picnic  lunch.  The  children  delighted  in 
the  work  and  looked  forward  eagerly  to 
these  trips  to  the  canyon. 

This  400  foot  color  film  represents  a 
cooperative  effort  which  proved  to  be  of 
considerable  value  to  all  concerned.  Mr. 
Fletcher  writes,  regarding  the  three 
cameramen.  "We  all  worked  together  in 
establishing  our  location,  exposure  and 
action,  which  benefited  each  of  us  very 
much.  and.  after  our  experience,  the 
consensus  of  opinion  was  that  a  filmer 
must  learn  his  camera,  exposure  meter 
and  the  condition  under  which  he  is 
filming.  \^  e  also  decided  that  a  camera- 
man has  many  individual  problems  to 
overcome  which  are  not  in  the  books, 
problems  that  you  must  work  out  for 
yourself.  I  am  sure  that,  if  we  had  not 
filmed  this  picture  as  a  group,  it  would 
never  have  been  filmed." 

Snow  Jf  kite  and  Rose  Red  is  the  typs, 
of  film  to  which  more  movie  makers 
could  profitably  turn  their  talents.  Lit- 
erature is  full  of  delightful  tales  to 
film.  Many  of  them  are  simple  enough 
for  the  beginner,  while  others  will  pro- 
vide a  real  challenge  to  one's  cinematic 
technique.  Also,  a  cooperative  effort 
such  as  this,  which  included  three  whole 
families,  appeals  to  young  and  old  alike, 
whether  they  appear  before  the  camera 
or  in  the  audience. 


S5* A  1 


\ 


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tL  Wovie  W*Lr 
and  the  f\e£ciiier: 


COERZ 


PHOTO  LENSES 

are  an 

AMERICAN  product 

since    1899 
made  by 

AMERICAN    labor 

in  an 

AMERICAN-owned 

factory 
We  have 

NO  CONNECTION 

with   any  other  firm 


TO  THE   RETAILER: 

As  the  major  part  of  our  lens  production  is 
nou:  reserved  for  Defense  Worh.^  our  ability 
to  fill  civilian  orders  is  naturally  limited. 
However,  ice  have  lenses  of  several  types  and 
sizes  in  stock  and  ice  may  occasionally  be 
able  to  offer  a  small  part  of  our  current 
production    for    civilian    use. 

Please  anticipate  your  needs  as  far  ahead  as 
possible ;  write  us  what  you  need  and  we 
will    do    our    best    to    serve    you. 


There   is   a   Goerz   hens 
for  every  purpose. 

To  help  you  in  the  selection  of  the  proper 
lens  our  long  experience  is  at  your 
service — For  detailed  information  and 
prevailing  prices  see  your  dealer  or 

DEPT.   MM-3 

C.  P.  GOERZ  AMERICAN  OPTICAL  CO. 

Office   and   Factory 
ir  317   East  34th   Street  New  York  -*■ 


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MOVIES  STILLS 


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VAPORATE    CO      INC 
130  W    46th  St 
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Scenes  from  "Snow  White  and  Rose 
Red,"   produced   by  three  fathers 


BELL    &    HOWELL    CO. 
1801  Larchmont 

Chicago 

716  No    La  Brea 

Hollywood 


126 


MARCH    1942 


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3  ^abtotir  3te  porn 

A  beautiful  color  motion  picture  of  sincere  re- 
ligious import,  with  spoken  dialog  taken  directly 
from  Bible  texts.  A  reverent  presentation  of  the 
Nativity.  3  reels,    16mm.  color  &  sound. 

Mv  Pelobeb  £>on 

The  words  and  wisdom  of  Jesus,  beautifully  pre- 
sented in  authentic,  natural  surroundings,  re- 
creating the  places  where  He  ministered.  3 
reels,    16mm.    color  &   sound. 

Gutter  Utttle  Cfitlbren 

The  Master's  ministry  in  healing  the  sick  and 
bringing  comfort  to  the  afflicted.  His  love  for 
the    little    ones.    3    reels,     16mm.    color   &    sound. 

Springtime 
in  tfje  JMp  3Lano 

Not  a  religious  film  for  any  single  creed,  but  a 
beautiful  reverent  treatment  of  the  old  Holy 
Places  and  the  new  spirit  in  Jerusalem  and 
Palestine.  Two  reels,  in  Kodachrome,  with  narra- 
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ASTOR  PICTURES  CORP. 


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Amateur  Clubs 

[Continued    from   page    109] 

the  Black  Hills.  Yellowstone  and  the 
Yosemite,  while  Guy  Bingham  carried 
on  the  tour  through  Banff,  Lake  Louise, 
Jasper  Park  and  the  Columbia  Ice- 
fields. The  club  has  just  concluded  its 
annual  general  contest,  under  the 
guidance  of  Lyle  Porter,  Harry  Eggert, 
ACL,  and  Algot  Peterson.  Decision  of 
the  members'  board  of  judges  will  be 
announced  next  month. 

Second  for  Calumet    New  officers 

for  1942 
were  announced  by  the  Calumet  Movie 
Makers,  ACL,  in  Hammond,  Ind.,  at  the 
group's  recent  second  annual  dinner 
meeting.  Those  elected  are  Oscar  W. 
Clements,  president;  James  Whitehead, 
vicepresident;  Virgene  Borowiak,  sec- 
retary; William  Jenz,  treasurer.  Others 
appointed  by  the  president  include  Joe 
Potraza,  program  chairman;  Merlyn 
Day,  scenarios;  James  Gudde,  equip- 
ment; C.  V.  McArty,  research;  Janet 
Petosky.  publicity;  Joseph  Hayden,  ed- 
itor of  The  Projector,  club  news  letter. 
Members'  films  seen  at  the  dinner  meet- 
ing were  Dad  Enjoys  the  Evening  Pa- 
per, Wisconsin  Dells,  And  So  They 
Were  Married  and  Westward  Ho. 

PaSSaiC  Studies  How  To  Make 
Your  Movies  In- 
teresting was  the  subject  of  a  discus- 
sion and  demonstration  at  a  late  meet- 
ing of  the  Passaic  Cinema  Club,  in 
New  Jersey,  by  Russell  C.  Holslag. 
ACL,  advertising  manager  of  Movie 
Makers.  Mr.  Holslag  illustrated  his 
points  with  Incident  on  Christmas 
Morning,  his  own  production,  and  with 
Riches  From  The  Sea  and  Sahuaro 
Land,  from  the  Club  Film  Library  of 
the  League.  Members'  films  were 
screened  by  Helen  Banker.  Walter  P. 
Koechel.  ACL,  and  Arthur  Labusohr. 
and  they  were  followed  by  a  discussion 
of  their  qualities  by  Mr.  Holslag. 

Parkchester  plans  Members  of  the 
ParkchesterCine 
Club,  recently  formed  unit  in  New 
York  City's  northern  residential  area, 
already  are  engaged  in  the  production 
of  Well,  I'll  Be  .  .  .  !,  a  short  comedy  of 
marital  difficulties  by  George  Kirstein. 
president  of  the  club.  The  production 
is  reported  to  be  getting  good  coverage 
by  The  Review,  local  paper  in  the  Park- 
chester  development. 

Manhattan  Tel  The  Projection 
Group  of  The  Tel- 
ephone Camera  Club,  ACL.  of  New 
York  City,  gathered  recently  for  a  joint 
contest  of  film  slide  members  and  movie 
makers.  Five  class  awards  were  made 
in  the  slide  competition,  with  two  each 
going     to     Jonn     ivieilvilia     and     Jack 


Scheide  and  one  to  Lee  Hartwell.  Louis 
Lind  took  Best  in  Show  in  the  cine  con- 
test, with  Adirondack's  in  the  Summer, 
followed  by  Robert  Anspach,  with 
Barney's  Chemistry  Set,  and  Mr.  Gra- 
ham, with  W  ards  of  Father  Knicker- 
bocker. Entries  in  the  movie  contest 
were  judged  by  the  consulting  staff  of 
the  League. 

Chicago  Contest  The  Chicago 
Cinema  Club, 
ACL.  in  collaboration  with  the  Esquire 
Theatre  of  that  city,  has  announced  the 
winners  in  its  late  contest  for  amateur 
films,  as  follows:  8mm.  Class — Meet 
Mr.  Chips,  by  Charles  V.  Carlstrand; 
Round  The  Clock,  by  Eveline  E. 
Blumenthal;  Song  of  Autumn,  by  C.  C. 
Hammack;  Kings  Canyon  National 
Park,  by  Edward  P.  Bezazian;  16mm. 
Class — Santa  Claus,  by  Glenn  A.  Burrs; 
Glacier  National  Park,  by  V.  H.  Sick- 
inger;  Two  Perfect  Weeks,  by  W.  F. 
Hinkle;  New  York  World's  Fair,  by 
Mrs.  Willa  T.  Doubson,  ACL.  The  Chi- 
cago Cinema  Club  is  planning  a  thor- 
oughgoing program  of  film  projections 
for  the  benefit  of  the  American  Red 
Cross  and  the  United  Service  Organiza- 
tions, with  Dr.  Charles  A.  Cameron, 
ACL,  in  charge  of  arrangements. 

San  Francisco  dines     Despite  the 

threat  of  air 
raid  alarms,  members  of  the  Cinema 
Club  of  San  Francisco  gathered  late  in 
December  for  the  group's  annual  dinner 
and  election  meeting.  New  officers  for 
1942  are  announced  as  follows:  Edwin 
L.  Sargeant,  ACL,  president;  Anthony 
H.  Kleyn,  vicepresident;  Fred  C. 
Youngberg,  treasurer;  Lawrence  J. 
Duggan,  ACL,  secretary.  Serving  with 
them  on  the  board  of  directors  are  John 
B.  Smurr.  ACL.  R.  E.  Pettingill  and 
Fred  A.  Wells.  Ice  Follies  of  1941  and 
Summer  Vacation,  both  by  Dr.  J.  Allyn 
Thatcher.  ACL,  were  featured  on  the 
dinner  program.  With  the  Westwood 
Movie  Club  in  the  same  city,  the  San 
Francisco  groups  are  the  first  in  the 
country  to  announce  blackout  facilities 
at  their  meeting  places. 

Millville  forms  Amateur  movie 
makers  in  south- 
ern New  Jersey  are  invited  to  get  in 
touch  with  the  Millville  Society  of 
Cinematographers,  a  new  unit  serving 
both  8mm.  and  16mm.  filmers.  Arthur 
Radcliffe.  513  North  7th  Street,  is  sec- 
retary, and  he  will  send  further  data  on 
the  club's  monthly  meetings  on  third 
Tuesdays. 

Winners  in  Westwood     Henry 

Swanson 
has  been  announced  as  first  award  win- 
ner in  the  recent  annual  contest  of  the 
Westwood  Movie  Club,  in  San  Fran- 
cisco,  with  his   comedy,   Wedded  Blis- 


MOVIE   MAKERS 

ters.  Other  place  winning  films  were 
Fourteen  Days,  by  Ed  Franke;  Eques- 
trienne, by  Don  Campbell;  Magic 
Mush,  by  Eric  M.  Unmack,  ACL; 
Master  and  I  Go  a  'Romping,  by  Donald 
Day;  Christmas  Memories,  by  Alma 
Weiser  and  Clyde  Wortman,  ACL.  Of- 
ficers for  1942  are  Dr.  I.  C.  Gobar, 
ACL,  president;  Mr.  Wortman,  vice- 
president;  Louise  Clapp,  treasurer;  Mr. 
Unmack,  secretary. 

Birds  in  Schenectady     Members 

of  the 
Schenectady  Bird  Society  were  guests 
of  the  Cine  Group  of  the  Schenectady 
Photographic  Society,  ACL,  in  New 
York,  at  a  recent  featured  screening  of 
Through  the  Window  Pane  and  Ma- 
dame Hummer  at  Home,  award  win- 
ning films  by  Mrs.  Warner  Seely,  ACL, 
of  Cleveland.  The  pictures  were  ac- 
companied by  a  well  selected  scoring 
of  music,  played  on  the  double  turn- 
table. Rounding  out  the  program  was 
a  three  reel  color  film,  sponsored  by 
the  General  Motors  Company,  of  The 
Futurama,  the  famous  exhibit  at  the 
New  York  World's  Fair. 

Indianapolis  offers     The    Indian 

apolis  Ama- 
teur Movie  Club  joins  the  ranks  of  the 
many  groups  already  offering  their 
services  to  local  Civilian  Defense  units, 
the  American  Red  Cross  and  United 
Service  Organizations  in  making  and 
showing  films  for  civic  purposes.  Fea- 
tures of  late  programs  for  this  club 
have  been  the  screening  of  an  8mm. 
film  of  dental  surgery,  by  Clyde  Cul- 
bertson,  and  a  sound  picture  of  the  op- 
eration  of  the   electron  microscope. 

Union  County  film  Members  of 
the  Union 
County  Cinema  Club,  in  New  Jersey, 
have  adopted  the  suggestion  of  Sophie 
Arndts,  chairman  of  the  script  commit- 
tee, that  the  next  club  production 
should  be  based  on  /  Hear  America 
Singing,  the  poem  by  Walt  Whitman. 
Production  will  be  on  8mm.  stock.  Re- 
cent programs  of  the  Union  County 
group  have  featured  lectures  by  W.  A. 
Reedy,  of  the  Weston  Electrical  Instru- 
ment Corporation,  on  Exposure  Prob- 
lems, and  by  Richard  Slauer,  ACL,  of 
the  Westinghouse  Electric  Company,  on 
Lighting  for  Home  Movies. 

In  Oklahoma  City     With  a  board 

of  judges 
drawn  from  the  neighboring  Tulsa 
Am-Mo  Club,  members  of  the  Movie 
Makers  Club  of  Oklahoma  City  saw  at 
a  recent  meeting  the  twelve  entries  in 
the  group's  annual  contest.  Place  win- 
ners, in  order,  were  An  Evening  at 
Home,  by  H.  A.  Houston,  ACL;  Christ- 
mas Card,  by  Frank  Allen,  ACL; 
Christmas,  1940,  by  Elmer  J.  Nienhaus; 
Colorado,  by  Robert  Bergthold.  The 
judges  were  J.  B.  Close,  R.  C.  Crosley, 


127 


ACL,  and  C.  A.  Patchen.  At  a  later 
general  meeting,  the  Oklahoma  City 
group  saw  Yellowstone  National  Park, 
by  Mr.  Houston,  and  record  pictures 
of  the  1941  Oklahoma  University 
R.O.T.C.  Camp,  at  Fort  Bliss,  shown 
through  the  courtesy  of  Captain 
George  Shirk. 


Canadian  contest  opens 

[Continued   from    page   113] 

and,  in  that  event,  he  would  select  an- 
other of  the  cooperating  Provinces  as 
the  subject  for  a  second  picture.  Each 
of  the  entries  must  be  a  separate  movie, 
however,  and  each  will  be  judged  inde- 
pendently of  the  other.  So,  if  you  want 
to  try  your  luck  on  British  Columbia 
and  also  want  to  make  a  film  about 
Prince  Edward  Island,  there  is  nothing 
to  stop  you.  However,  keep  each  film  a 
separate  subject. 

The  prizes  are  munificient.  If  you 
make  the  best  film  of  one  of  the  co- 
operating Provinces,  you  will  win  an 
all  expense  tour  of  that  Province  for 
your  vacation  in  1943.  The  tours,  which 
vary  from  a  $500.00  all  expense  tour 
offered  by  British  Columbia  to  a  stay  as 
long  as  four  weeks  in  the  case  of  Prince 
Edward  Island,  were  planned  by  the 
Provincial  governments.  They  offer  lux- 
urious accommodations,  special  travel 
arangements  and  splendid  movie  mak- 
ing opportunities.  The  lucky  prize  win- 
ners will  be  the  guests  of  the  Provin- 
cial governments  for  three  thrilling 
weeks.  The  all  expense  prize  tours  are 
offered  for  two  persons,  so  that  friend 
wife  or  friend  husband  can  accompany 
the  winner. 

In  addition,  the  filmer  who  makes  the 
movie  that  is  judged  to  be  the  best  of 
the  four  winners  will  receive  a  cash 
prize  of  $500.00. 

The  contest  has  few  technical  rules 
-—the  entries  may  be  black  and  white 
or  color,  although  they  must  be  at  least 
400  feet  in  length.  They  must  be  made 
on  16mm.  film  and  they  must  be  silent, 
although  they  may  be  filmed  at  twenty 
four  frames  a  second,  so  that  the  owner 
can  add  sound  to  his  picture,  after  the 
contest,  if  he  desires.  Phonograph  rec- 
ords cannot  be  received  in  the  contest, 
and  written  narrations  are  excluded;  so, 
each  entry  must  be  a  silent  picture, 
complete  in  itself.  The  cinematography 
of  each  film  must  be  the  work  of  the 
contestant,  but  he  may  include  profes- 
sionally made  titles  if  he  likes. 

The  board  of  judges,  who  will  judge 
the  entries  on  the  basis  of  good  movie 
making  technique,  continuity  and  inter- 
est of  subject  matter,  will  be  John 
Grierson,  Canadian  Government  Film 
Commissioner  and  famous  authority  on 
"documentary"  films;  Alfred  Hitch- 
cock, the  great  British  director  who  is 
now  working  in  Hollywood;  and  Arthur 
L.  Gale,  editor  of  Movie  Makers. 


American  Cinematographer 

Hand  Book  and  Reference  Guide 

THE   1942   EDITION 
RIGHT  OFF  THE  PRESS 

THE  GREATEST  HAND  BOOK 
OF  ITS  KIND  EVER  PUBLISHED 

Movies  or  Still 
Professional  or  Amateur 

Charts  and  tables  for  35mm. 
16mm  and  8mm  sound  and  si- 
lent cameras  and  projectors, 
miniature  cameras,  cine  film, 
filters,  lenses,  make-up,  screen 
sizes,  exposure  meters,  photo- 
flood,  photoflash,  and  infra-red 
blackout  lamps,  timers,  calcu- 
lators, equalizers,  etc.,  in  fact  it's 
just  jammed  full  of  the  right 
kind  of  information.  250  pages 
of  essential  material  for  every 
camera  user.  Pocket  size. 

PRICE  $3.50 

At  your  photographic  dealer  or 
Postpaid  to  any  address. 

Send  for  descriptive  circular 

American  Cinematographer 

Hand  Book  and  Reference  Guide 

1165  N.  Berendo  St.,  Hollywood,  Calif. 


WINDBACKS 


FRAME- 
COUNTING 
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and   installed.  Money-back  guarantee. 
Keystone  .  .  .  SI  7.45    •     Filmo  .  .  .  S23.50 
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Write   Us   Your   Requirements 
CUSTOM      BUILT     CAMERA     ACCESSORIES     CO. 
5710   Cedar  Springs  •  Dallas,   Texas 


&£)  KODACHROME  (JKZ) 

Now  ready:  400  ft.,  16mm.  Kodachrome  copies  of  "The 
Canadian  Rockies,"  $60.00.  Also,  in  originals  @  18c.  ft., 
any  footage  of  iTosemite.  desert  scenes  and  cactus  blossoms, 
zoo   animals,    San   Francisco   and   other   California   scenes. 

35mm  Kodaslides   (2x2),  50c  each. 

GUY  D.  HASELTON 


7936  Santa   Monica   Blvd. 


Hollywood.   Calif. 


QhtikM  Sound 

IS  COMlTsiG  TO  l6MM  FlLlA 

WATCH  FOR  IT! 
J.A.MAURERJNC.  -J 


1 JT  BAST  2»»  ST.  NEW  YOKK 


— J 


MAKE  TITLES  IN  6  COLORS! 

ON      PHOTOGRAPHIC 
BACKGROUNDS 

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A-to-Z  COLOR 

TITLE    Sfi.50 

OUTFIT  wO 

Everything  you  need  to 
make  thousands  of  titles. 
It's  easy — it's  fun. 
Outat  includes:  A-to-Z  Title  Maker;  30  Figurettes  in 
color:  12  sheets  of  8"  x  10"  clear,  washable.  Acetate 
Film:  6  jars  of  special  Colors  (Red.  Yellow.  Blue. 
Green,  White,  Black) ;  10  Photographic  8  i  10  Back- 
grounds; Title  Frame  (7"  x  9")  area;  Tracing  Paper; 
Brush;  Simple  instructions,  etc. 

Free   Sample   Title   Kit     •     Write    today. 

See  your  dealer  or  send  S6.50  direct  to 

A-to-Z   MOVIE   ACCESSORIES 

175   FIFTH    AVE..    Dept.    M32,    NEW   YORK.    N.   Y. 


128 


MARCH    1942 


85 


COMPLETE  WITH  DURABLE 
FIBRE  TRIPOD  COVER 

Camart    Professional    Type    Tripod 

Finely  constructed  tripod  gives  spring  or  motor  driven 
camera  rigid  support  and  exceptionally  smooth  pan 
and  tilt  movement.  Ideal  for  all  16mm  or  35mm 
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Cine-Special   at   no   extra   cost.    Write   for   circular. 


CAMERA-MART,//*-.    70  W.455T.N.Y.C. 


CIVILIAN 
DEFENSE  FILMS 

"On     the    spot"    movies 

of     the     home    front     in 

Britain,    Canada,    China. 

USSR. 

Write    National    Defense 

Catalog   "MM". 


BRANDON    FILMS  1600  Broadway  New  York 


THE    NEW    BINDER    FOR    THE    1942    NUMBERS    OF 

MOVIE  MAKERS  WILL  SOON  BE  READY. 
Made  of  black  fabrikoid  and  handsomely  stamped  in  gold, 
MOVIE   MAKERS  binders  are   equipped  with  wire  fasten- 
ers   so   that   copies    can    be   readily    inserted   or    removed. 
Binders   $1.50 
MOVIE   MAKERS 
420  Lexington  Ave.  New  York.   N.  Y. 


We  know  you're  proud  of  your  16  mm  movies  I  We're 
proud  of  our  titles,  too!  They'll  give  your  movies 
that   Hollywood    touch. 

Our  Kodachrome  titles  sparkle  with  a  brilliant  array 
of  color. 

SOUND    TITLES— 10    words S  I  .50 

KODACHROME    TITLES— 10   words: $2.50 

SEND  TRIAL  ORDER  TODAY— 10  words  of  copy  on 
silent  film.    Postpaid  for  only S  1 .00 

FILMACK    LABORATORIES 
1323  S.  Wabash  Ave.  Chicago,   III. 


ARE   YOU    INTERESTED    IN   THE   STORY 
OF    LIVESTOCK? 

Two  important  16mm.  COLOR  FILMS  on  this 

subject    are    offered    for 

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3  Reels.  16mm.  Silent  Kodachrome 

to  Agricultural   Groups,    Schools,    Clubs,    etc. 

I    M    U„„L^„    1^*.      UNION    STOCK    YARDS 

J.  M.  l-IOOber,  InC.     Lancaster  Penna. 


MAKE   GOOD   FILMS   BETTER 
with 

PARK  CINE  TITLES 

Crisp!     Artistic!     Economical! 
Give   meaning  to   your  films. 

Send  for  Latest  Catalog 

PARK  CINE  LABORATORY 

120  West  41st  St.        New  York  City 


Entries  are  to  be  sent  to  National 
Film  Board  of  Canada  Contest,  care  of 
Canadian  Trade  Commissioner,  Tribune 
Tower  Building,  435  North  Michigan 
Avenue,  Chicago,  111.,  so  that  contest- 
ants need  not  send  their  films  out  of 
the  country  to  have  them  judged. 

All  films  entered  in  the  contest  re- 
main the  property  of  the  contestants, 
but  the  National  Film  Board  reserves 
the  right  to  make  copies  of  all  prize 
winning  films  and  to  use  and  to  dis- 
tribute the  copies  in  any  way  that  it 
sees  fit. 

So,  if  you  are  thinking  of  traveling 
in  Canada  this  summer,  here  is  a  big 
inducement  —  a  glorious  vacation  in 
1942  and  the  possibility  of  winning 
$500.00  in  cash  and  an  all  expense 
tour  in  1943.  In  addition,  you  will  have 
the  satisfaction  that  your  money  is  be- 
ing spent  in  a  country  that  needs  all 
the  American  dollars  possible  to  help 
carry  on  its  magnificent  war  effort. 

News  of  the  industry 

[Continued  from   page   112] 

The  price  of  the  new  Kodascope  Six- 
teen-10,  with  two  inch  lens,  750  watt 
lamp  and  400  foot  reel,  is  $80.00. 

Castle  galaxy  Castle  Films,  Inc., 
of  30  Rockefeller 
Plaza,  New  York  City,  has  released 
three  new  films  of  the  greatest  timeli- 
ness. These  are  Britain's  Commandos 
in  Action,  Russia  Stops  Hitler  and  the 
very  latest,  Bombing  of  Pearl  Harbor — 
Burning  of  S.S.  Normandie.  The  first 
of  these  subjects  is  of  unusual  interest 
because  the  camera  was  able  to  capture 
practically  every  detail  of  a  daring  raid 
of  the  Commandos  on  Nazi  held  Nor- 
wegian islands.  Scenes  include  prepara- 
tions, the  bombardment  of  the  coast, 
landing  the  assault  boats,  fighting  in 
the  streets  and  burning  buildings  and 
supplies.  The  final  withdrawal  regis- 
ters a  complete  destruction  of  the 
enemy's  war  supplies. 

Russia  Stops  Hitler  includes  battle 
movies  never  before  seen  and  shows 
Russia's  magnificent  counter  assaults  to 
the  German  invasion.  Stalin  reviews 
Russia's  fighting  might  in  Moscow  be- 
fore the  battle.  Soviet  fighters  are 
shown  in  furious  bayonet  charges 
against  the  enemy.  The  effect  of  the 
freezing  cold  is  seen.  The  mechanized 
phases  of  the  struggle  are  presented, 
as  tanks  and  airplanes  thunder  into  ac- 
tion. German  divisions  retreat  and 
abandon  their  heavy  equipment. 

The  U.  S.  Navy  Department  has  just 
made  available  motion  picture  records 
of  the  surprise  air  and  sea  assault  on 
Pearl  Harbor  by  the  Japanese  on  De- 
cember 7.  Previously  withheld,  these 
graphic  scenes  are  now  included  in  a 
new  film  of  redoubled  interest  value  by 
Castle.  The  second  portion  of  this  reel 


covers  the  burning  of  the  S.S.  Nor- 
mandie as  she  lay  at  her  pier,  being 
readied  for  war  service.  Special  Castle 
cameramen  recorded  the  great  debacle 
as  the  huge  ship  turned  over  on  her 
side. 

All  three  of  these  films  are  to  be  had 
in  8mm.  silent  and  in  16mm.  silent  and 
sound,  at  regular  Castle  prices. 

Old  timers  A.  new  series  of  amus- 
ing home  movies, 
known  as  Flicker  Frolics,  has  been  in- 
troduced by  Raygram  Corporation,  425 
Fourth  Avenue,  New  York  City.  Hilari- 
ous doings,  in  which  Keystone  Cops, 
deep  dyed  villains  and  hair  breadth  es- 
capes figure,  may  be  viewed  in  the  180 
foot,  8mm.  film,  A  Race  for  Life,  which 
lists  at  $5.50. 

16mm.  plastic  reel  Success  in  its 
pioneer  devel- 
opment of  the  8mm.  projection  reel  in 
molded  plastic  has  now  encouraged  the 
American  Molded  Products  Company, 
1751  Honore  Street,  Chicago,  to  offer 
its  new  400  foot,  16mm.  transparent 
plastic  reel.  The  new  reel  lists  at  sixty 
cents.  Also  new  are  brown,  mottle 
finished  plastic  "cans"  for  8mm.  pro- 
jection reels.  The  200  foot  size  is  forty 
five  cents  and  the  300  foot  size  is  fifty 
five  cents.  These  new  plastic  products 
may  be  inspected  at  almost  all  photo- 
graphic dealer  stores. 

Albert  President     A  substantial 

and  versatile 
new  tripod  is  offered  by  the  Albert  Spe- 
cialty Company,  231  South  Green, 
Street,  Chicago.  It  is  called  the  Presi- 
dent and  incorporates  a  tilt  top  which 
allows  the  camera  to  be  pointed  in  any 
direction.  An  extension  handle  affords 
the  user  complete  control.  The  leg  con- 
struction is  of  rigid,  three  section  tubu- 
lar steel.  Leg  tips  are  reversible,  to  ter- 
minate in  steel  points  or  in  rubber.  A 
quick  leg  lock  is  adjustable  to  heights 
from  twenty  eight  to  sixty  two  inches. 
The  price  is  $25.00. 

New  A  to  Z  color  outfit  Thesuc- 

cess  of 
the  A  to  Z  original  color  title  idea,  by 
which  a  special  color  kit  is  used  to 
trace  novel  titles  for  Kodachrome  shoot- 
ing, has  been'  amplified  and  completed 
in  the  new  A  to  Z  Color  Title  Outfit, 
offered  by  A  to  Z  Movie  Accessories, 
175  Fifth  Avenue,  New  York  City.  The 
new  outfit,  which  sells  for  $6.50,  con- 
tains a  fuller  supply  of  all  the  mate- 
rials needed  to  make  a  great  variety  of 
color  titles.  Included  are  ten  photo- 
graphic backgrounds,  six  jars  of  bril- 
liant colors,  thirty  Figurettes,  a  large 
assortment  of  alphabets,  tracing  paper 
and  a  background  board  and  instruc- 
tions. 


MOVIE    MAKERS 


129 


Films  you'll  want  to  show 

Non  theatrical  movie  offerings 
for  substandard  projection 


B  Flash  Gordon  is  a  16mm.  serial  fea- 
ture, in  sound,  offered  by  the  Filmo- 
sound  Library  of  the  Bell  &  Howell  Com- 
pany, 1801  Larchmont  Avenue,  Chicago. 
In  it,  the  scientific  superman  of  the 
future  makes  use  of  such  implements 
as  ray  guns,  atom  furnaces,  liquid  fire 
and  radio  telescopes  in  his  struggle 
with  inhabitants  of  other  planets  with 
weird  populations 


'  Topper  Takes  A  Trip,  16mm.  sound, 
running  time,  eighty  two  minutes,  is  a 
highly  entertaining  feature  released  in 
16mm.  by  Post  Pictures  Corporation, 
723  Seventh  Avenue,  New  York  City. 
Some  of  the  featured  players  are  Con- 
stance Bennett,  Roland  Young  and 
Billie  Burke. 


■  The  Last  Frontier,  16mm.  sound  on 
film,  in  twelve  separate  episodes,  is  an 
action  serial  that  will  please  all  audi- 
ences, as  it  is  a  dramatization  of  Court- 
ney Ryley  Cooper's  well  known  story. 


This  epic  of  the  final  conquest  of  the 
West,  in  the  days  when  the  nation  was 
young,  features  Lon  Chaney,  jr.,  and  a 
supporting  cast  of  excellent  players. 
The  subject  is  released  by  Common- 
wealth Pictures  Corporation,  729  Sev- 
enth Avenue,  New  York  City. 


B  China  Strikes  Back,  16mm.  sound, 
running  time,  thirty  three  minutes,  a 
three  reel  feature  filmed  in  the  hither- 
to inaccessible  regions  of  North  China, 
is  said  to  be  a  striking  film  record 
of  the  unification  of  Free  China  to  fight 
off  the  invader.  Exclusive  pictures  of 
Chinese  leaders,  guerrilla  fighters  in 
training  and  maneuvers  are  shown.  The 
subject  is  released  by  Brandon  Films, 
Inc.,  1600  Broadway,  New  York  City. 


■  Land  of  the  Incas,  one  reel,  8mm. 
silent  and  16mm.  silent  and  sound  on 
film,  is  a  colorful,  active  travel  subject 
that  takes  the  beholder  to  the  mountain 
passes  of  Peru.  Here  are  found  descen- 
dants of  lost  civilizations  and  monu- 
mental remains  of  Inca  and  Spanish  in- 
fluence. Fine  camera  work  is  said  to 
characterize  this  informative  reel,  one 
of  the  Adventure  Parade  series  offered 
by  Castle  Films,  Inc.,  30  Rockefeller 
Plaza,  New  York  City. 


Buy  CRAIG  for 

Better  Editing! 


The  Craig  Projecto-Editor 

For  "Action-Editing"  the  Hollywood  Studio  way  I — 
permits  careful  inspection  of  brilliant,  flickerless 
motion  on  its  miniature  screen.  With  the  aid  of 
the  CRAIG  PRO.IECTO-EDITOK,  many  an  unin- 
teresting collection  of  random  "shots"  can  be 
easily  transformed  into  smooth  running  sequences 
.  .  .  interest-sustaining  continuities  that  everyone 
will  enjoy  seeing. 
8mm    Model,    complete   with   splicer,    rewind 

and    film    cement $37. 50 

8mm    Projecto-Editor    alone 29. 50 

16mm      Model      with      Sr.      Splicer     and      re- 
winds        59.50 


The  Craig  Senior  Splicer 

Makes  professional  splices  easily — only  four 
simple  operations  and  without  wetting  the 
film.  Equipped  with  cutter  and  dry  scraper; 
permanent  splices  are  guaranteed  accurate  in 
every  detail  to  1/1000  of  an  inch. 
List    Price    SI0.95 


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SOUND  ON  FILM 

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CINE  CLASSIC  LIBRARY 


1041  Jefferson  Ave. 


Brooklyn,  N.  Y. 


8  ENLARGED  <g    ^*  REDUCED  Q 
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Black    and    White    or    Kodaclirome 

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CHICAGO 


QAtilUc)  S(nmd 

IS  COMING  TO  l6MM  FILM 

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J.A.MAURERJNC 

I1T  EAST  24  ST,  NEW  YOHK 


Mara-Movie 

HEDITING 


— makes  movie  editing 
a  pleasure.  Has40  num- 
bered sections  to  hold 
8  or  16mm.  scenes  as 
you  cut  them  apart. 
Take  scenes  from  rack 
and  splice  in  continu- 
ity. Movie  editing  is 
easy  with  a  Mara- 
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COMPUTE  OUTFIT,  $1.75  Postpaid 


2  for  $3.25;  3  for  S4.75  Mara-Movie  Editing  Racks 
are  17%  x  11  in.  in  size  and  have  collapsible  easels  and 
snug-fitting  covers.  Sections  are  2  x  2  in.  for  8  or  16mm. 
coils.  100  printed  continuity  slips  and  simplified  direc- 
tions for  movie  editing  furnished  with  each  outfit.  Order 
one  today.  Edit  your  movies  the  easy  way  I  Inquiries  In- 
vited from  Dealers. 

MARATHON  PHOTO  SUPPLY  CO.,Box415-B,Wausau,Wis. 


130 


MARCH    1942 


FREE  FILM  REVIEWS 

You  can  borrow  these  new  publicity  movies  without  charge 


THESE  films,  the  latest  publicity  pic- 
tures produced,  are  offered  on  loan, 
without  charge.  Some  may  be  available 
to  individuals,  and  others  are  available 
only  to  clubs  or  groups.  In  certain  cases, 
the  type  of  organization  to  which  the 
films  are  lent  without  charge  is  speci- 
fied. To  borrow  these  films  for  a  screen- 
ing, write  directly  to  the  distributor, 
whose  address  is  given.  (Note  carefully 
the  restrictions  mentioned  in  each  case.) 

LATEST  RELEASES 

It  Happened  Here,  1200  feet,  16mm. 
sound  on  film,  black  and  white;  pro- 
duced by  Hartley  Productions. 

Offered  to:   groups. 

Available  from:  Church  Mission  of 
Help,  27  West  25th  Street,  New  York, 
N.  Y. 

This  film  dramatizes  the  lives  of  two 
girls  who  are  trying  to  make  a  living 
alone  in  a  big  city,  and  it  shows  the 
friendly  encouragement  that  is  given 
to  them  by  the  Church  Mission  of  Help. 
Shown,  too,  are  some  of  the  many  ac- 
tivities which  make  up  the  broad  pro- 
gram of  this  social  service  organization. 

Listen— It's  FM!,  2  reels,  840  feet, 
16mm.  sound  on  film,  color;  produced 
by  the  Sales  Education  Section,  Gen- 
eral Electric  Company,  Bridgeport, 
Conn. 

Offered  to:  groups  only. 

Available  from:  C.  R.  Brown, 
Visual  Instruction  Section,  General 
Electric  Company,  Schenectady,  N.  Y. 

Listen — It's  FM!  describes  in  simple, 
everyday  language  the  operation  of 
radio,  stressing  the  advantages  of  the 
newly  developed  FM,  or  frequency 
modulation,  over  the  customary  AM, 
or  amplitude  modulation,  system.  By 
means  of  analogies  and  colorful  ani- 
mation, we  see  how  FM  eliminates 
static,  interference  and  fading,  while 
at  the  same  time  it  improves  the  tonal 
quality  of  the  reception. 

Educator's  comment:  This  is  an 
extremely  instructive  film  for  high 
school,  for  trade  school,  for  physics 
classes  or  for  adult  radio  clubs  that 
are  studying  frequency  modulation. — 
E.D.C. 

Incredible  Rio,  1  reel,  1100  feet,  16mm. 
sound  on  film,  color;  produced  by 
Moore-McCormack   Lines. 

Offered  to:  groups  only. 

Available  from:  Miss  Vera  Fee, 
Moore-McCormack  Lines,  5  Broadway, 
New  York,  N.  Y. 

This  movie  begins  with  scenes  aboard 
one  of  the  Moore-McCormack  ships  en 


route  to  Rio  de  Janeiro,  one  of  the 
ports  on  its  cruise  along  the  east  coast 
of  South  America.  The  travelers  disem- 
bark at  Rio,  ascend  famed  Sugar  Loaf 
Mountain  and  join  the  throngs  at  the 
beaches,  race  tracks  and  golf  courses. 
Then  they  visit  the  churches  and  gar- 
dens in  the  beautiful  modern  section 
and  in  the  picturesque  old  regions  of 
the  city.  The  picture  finishes  with  a 
view  of  the  famous  Mardi  Gras  Carni- 
val. 

Educator's  comment:  Incredible 
Rio  is  usable  in  junior  and  senior  high 
school  classes  which  are  studying  that 
city. — E.D.C. 

Power  for  Defense,  1  reel,  16mm. 
sound  on  film,  black  and  white;  pro- 
duced by  the  Office  for  Emergency 
Management. 

Offered  to:  groups. 

Available  from:  Y.M.C.A.  Motion 
Picture  Bureau,  347  Madison  Avenue, 
New  York,  N.  Y.;  19  South  LaSalle 
Street,  Chicago,  111.;  1700  Patterson 
Avenue,  Dallas,  Texas;  351  Turk 
Street,  San  Francisco,  Calif. 

Power  for  Defense  shows  how  the 
defense  industries  that  are  located  in 
the  Tennessee  Valley  draw  their  power 
from  the  government  dam  projects  in 
the  area. 

Educator's  comment:  This  is  a  very 
good  film  for  junior  or  senior  high 
school  classes  that  are  studying  gov- 
ernment power  plants  or  defense  in- 
dustries.— E.D.C. 

Men  o'  Defense,  1  reel,  16mm.  sound 
on  film,  black  and  white;  produced  by 
Donald  Manashaw. 

Offered  to:  groups. 

Available  from:  The  Jam  Handy 
Organization,  19  West  44th  Street,  New 
York,  N.  Y. 

Men  o  Defense  shows  the  modern 
and  spacious  facilities  of  the  Delehanty 
Institute  in  New  York  City  for  training 
men  for  national  defense.  With  a  com- 
mentary by  Alois  Havrilla,  the  film 
takes  up  in  turn  machine  shop,  weld- 
ing and  aviation  work.  Many  different 
processes  of  the  machine  shop,  such 
as  the  operation  of  lathes,  millers  and 
grinders,  drill  presses  and  bench  work, 
pass  before  us,  and  we  learn  how  both 
arc  and  oxyacetylene  welding  are  done. 
The  aviation  sequence  describes  various 
phases  of  airplane  building. 

The  Ninth  Inning,  4  reels,  16mm.  and 
35mm.  sound  on  film,  black  and  white 
(also    2    reel    version)  ;    produced    by 
Chicago  Film  Laboratory. 
Offered  to:  groups  only. 


Available  from:  Lew  Fonseca, 
American  League  of  Professional  Base- 
ball Clubs,  310  South  Michigan  Build- 
ing, Chicago,  111. 

The  Ninth  Inning  is  designed  to 
teach  baseball  to  the  youth  of  the  na- 
tion, by  showing  stars  of  the  American 
League  in  their  specialties.  Also,  base- 
ball "fans"  have  an  opportunity  to  see 
many  of  the  "inside  plays,"  which  will 
increase  their  enjoyment  of  the  pastime. 
Hitting,  pitching  and  fielding  sequences 
in  regular  and  slow  motion,  combined 
with  shots  of  the  1941  All  Star  game 
and  Yankee  Dodger  World  Series, 
make  this  film  a  "must"  for  all  follow- 
ers of  our  national  game. 

Conscience  in  Action,  600  feet,  16mm. 
sound  on  film,  color;  produced  by 
Waldo  E.  Austin,  ACL. 

Offered  to:  groups,  especially  Com- 
munity Fund  organizations. 

Available  from:  The  Community 
Fund  of  Roanoke  City  and  County, 
Roanoke,  Va. 

Based  on  the  efforts  of  the  Commu- 
nity Fund  in  Roanoke,  Va.,  this  film 
should  prove  to  be  valuable  to  other 
similar  groups  throughout  the  country. 
Conscience  in  Action  shows  graphically 
the  work  that  the  local  Fund  is  doing 
in  both  white  and  colored  charities.  All 
prints  of  the  film  were  kept  in  constant 
use  during  a  Fund  drive  in  October, 
but  they  are  now  available  for  national 
distribution. 

RECENT  RELEASES 

Managing  the  Family  Income,  1600 
feet,  16mm.  sound  on  film,  black  and 
white;  produced  by  the  Jam  Handy 
Organization. 

Offered  to:  groups  only. 

Available  from:  Household  Finance 
Corporation,  919  North  Michigan  Ave- 
nue, Chicago,  111. 

Managing  the  Family  Income  shows 
how  to  make  a  budget  as  well  as  why  to 
make  one.  At  a  family  conference,  all 
members  work  out  a  budget,  to  include 
personal  expenses,  general  household 
necessities  and  payments  on  old  bills. 

Educator's  comment:  This  movie  is 
suitable  for  high  school  classes  studying 
budget  problems  or  consumer  educa- 
tion.— E.D.C. 


FLOODS  IN  LAMP  SHADES 
If  you  use  small  flood  bulbs  in 
regular  lighting  fixtures  with  parch- 
ment or  silk  shades,  the  lamps  should 
be  turned  on  only  while  you  are  tak- 
ing pictures,  for  the  bulbs  become 
quite  hot  after  extended  use,  and  they 
may   char  or  burn  delicate  materials. 


I  Cash  required  with  order.  The  closing  date  for 
the  receipt  of  copy  is  the  tenth  of  the  month  pre- 
ceding issue.  Remittance  to  cover  goods  offered 
for  sale  in  this  department  should  be  made  to  the 
advertiser  and  not  to  Movie  Makers.  New  classi- 
fied advertisers  are  requested  to  furnish  references. 

■  Movie  Makers  does  not  always  examine  the 
equipment  or  films  offered  for  sale  in  CLASSI- 
FIED ADVERTISING  and  cannot  state  whether 
these  are  new  or  used.  Prospective  purchasers 
should  ascertain  this  fact  from  advertisers  before 
buying. 


10  Cents  a  Word 


Minimum  Charge  $2 


|  Words  in  capitals,  except  first  word  and  name, 
5  cents  extra. 

EQUIPMENT  FOR  SALE 

■  BASS  SAYS:  Cine  leadership  displayed  more 
than  ever  by  magnificent  choice  of  fine  equipment 
in  these  trving  times.  USED  CAMERAS:  8mm. 
Bell  &  Howell  Single  8,  //3.5  lens,  case,  $22.50: 
Smm.  Keystone,  //3.5  lens,  $18.50;  8mm.  Revere. 
f/2.5  lens,  case,  $43.50;  16mm.  Bell  &  Howell 
Model  75,  Cooke  f/3.5  lens,  $34.50;  16mm.  Bell 
&-  Howell  70A,  f/3.5  Cooke,  $44.50;  16mm.  Bell  & 
Howell  121  Magazine,  1"  //1.8  focusing,  $77.50; 
16mm.  Bell  &  Howell  70DA,  1"  f/l.S  Cooke, 
20mm.  //3.5  Cooke  and  3"  f/4  Wollensak,  case. 
S235.00;  16mm.  Bell  &  Howell  Automaster,  1"  f/2 
Xenon,  2"  f/2. 8  Acura,  15mm.  f/2.7  wide  angle. 
case,  $272.50;  16mm.  Victor  3,  1"  f/2.7,  $47.50: 
16mm.  Victor  3,  1"  Cooke  focusing  mount,  1" 
//1.5  Wollensak,  3"  f/4  Wollensak,  $125.00; 
16mm.  Simplex,  magazine,  1"  //1.9  with  optical 
finder,  3"  //4.5  Trioplan  telephoto,  case,  $89.50; 
16mm.  Movikon,  Sonnar  //1.4.  coupled  range 
finder,  case,  $295.00.  LENSES:  3"  //1.5  Kino 
Plasmat  fitted  for  C  mount  or  coupled  for  Leica. 
S135.00;  4^"  f/2. 8  Trioplan,  tvpe  C  mount  or 
coupled  for  Leica,  $85.00;  1"  //0.99  Dallmever, 
Type  C  mount,  $110.00.  USED  PROJECTORS: 
16mm.  Kodascope  EE  Series  II.  750  watt  lamp, 
$62.50;  16mm.  Bell  &  Howell  57A.  reconditioned, 
400  watt  lamp.  ca_se,  S47.50;  16mm.  Bell  &  Howell 
Model  57GG,  375  watt  lamp,  variable  resistance, 
voltmeter,  case,  S64.50:  16mm.  Bell  &  Howell 
Auditorium  projector.  1600  ft.  capacity,  1200 
watt  lamp,  2"  //1. 6  lens,  case,  $315.00.  USED 
SOUND  PROJECTORS:  Victor  Animatophone 
Model  33.  750  watt  lamp.  10  watt  output,  1600  ft., 
speaker  and  case,  S217.50;  Victor  Animatophone 
Model  40A,  new  condition,  750  watt  lamp,  20  watt 
output,  speaker,  $275.00.  Limited  Number.  Dis- 
continued new  model  Craig  Jr.  16mm.  animated 
Editor,  Splicer  and  Rewind.  Regularly  $31.50; 
our  price,  $23.65.  Just  out — complete  revised  cine 
price  list  covering  largest  assortment  in  the 
country  including  sound.  Free  on  request.  BASS 
CAMERA  COMPANY,  Dept.  CC.  179  W.  Madi- 
son St.,  Chicago,  111. 

■  FULL  LIST  PRICE  ALLOWED  for  your 
Model  20  Cine-Kodak  on  Eastman  Model  90  Smm 
camera;  for  your  Model  E  16mm.  projector  on 
Bell  &  Howell  Filmomaster;  for  your  Revere  //3.5 
on  Revere  Turret;  for  your  Model  50  Kodascope 
on  new  Revere  projector;  for  your  A8  Keystone 
on  new  Ampro  or  Bell  &  Howell  Smm.  projector. 
Write  for  other  liberal  allowances.  EQUIPMENT 
FOR  SALE — AS  NEW  PROJECTORS:  Bell  & 
Howell,  32  volt.  S49.50;  500  watt  Bell  &  Howell 
Model  57,  $57.50  with  case;  Bell  &  Howell  Show- 
master,  fine  condition,  $150.00;  Bell  &  Howell 
Model  ST,  750  watt  with  case,  $115.00;  Bell  & 
Howell  750  watt,  Model  SU  with  variable  resist- 
ance and  case,  S149.50;  Bell  &  Howell  Academy 
Filmosound,  demonstrator,  new  guarantee 
$275.00;  Bell  &  Howell  Walnut  case  Utility 
Filmosound,  $335.00.  AS  NEW  CAMERAS:  8mm 
Bolex,  //1.9  lens,  $195.00;  16mm.  Bolex,  with 
Hektor  //1.4  lens,  $295.00;  Victor  Model  5  with 
//1.5  lens,  $149.50;  Bell  &  Howell  Automaster, 
//2.7  lens,  $159.50;  Eastman  Model  A  16mm., 
hand  crank,  //3.5  lens,  ideal  for  printer,  $29.50; 
Smm.  Bolex  with  Hugo  Meyer  f/l.S,  S275.00; 
Bell  &  Howell  8mm.  Turret  with  back-wind,  //2.5 
Cooke,  $135.00;  Bell  &  Howell  70DA  equipped 
for  motor  drive,  200  foot  magazine  and  case,  //l  5 
lens,_ $349.50.  AS  NEW  LENSES:  Eastman  1-inch 
//4.5,  for  Bell  &  Howell,  Revere  or  Keystone 
Smm.,  $29.50;  2-inch  f/l.S  Zeiss  Sonnar  for  8  or 
16mm.  cameras,  $75.00;  6-inch  Hugo  Meyer  //4.5, 
fine  condition,  $79.50;  Cooke  }4-inch  //1.4  for 
Bell  &  Howell  8mm.,  $79.50;  Smm.  wide  angle 
lens  with  view  finder,  $22.00;  l^-inch  f/1.9  Dall- 
meyer,  $55.00;  2-inch  Dallmever  f/1.9.  $59.50; 
1-inch //l. 5  Dallmeyer.  $62.50;  1-inch  f/1.9  Dall- 
meyer,  $49.50;  1^-inch  Dallmeyer  f/4,  $34.50; 
2-inch  Eastman  //1.6,  $69.50;  4y2-\nch  f/2.7. 
$69.50;  extra  Magazine  for  Cine  Special,  $75.00; 
SI 69.00  Webster  Recorder  and  Plavback,  $79  50 
WRITE  FOR  BARGAIN  LIST. '  NATIONAL 
CAMERA  EXCHANGE,  Established  1914,  11  So. 
Fifth   St.,  Minneapolis,  Minn. 

Printed  by  WNU,  N.  Y.,  in  the  U.  S.  A. 


n 

I  Just  Out  .  .  . 

A  Brand  New  League  Leader 
— different  from  all  preced- 
ing   ACL    Leaders.    It    com- 
B   bines  a  leader  and  a 


"THE  END"  title 

The  new  ACL  leader  combines 
an  introductory  animated  se- 
quence to  open  your  film  and  a 
"THE  END"  title  to  splice  at 
the  end  of  your  picture.  The 
leader  and  "THE  END"  are 
separated  by  two  blank  frames 
so  that  it  is  easy  to  find  the  spot 
at  which  to  cut  them  apart. 

Both  sections  of  the  new  leader 
are  cleverly  animated  with  pro- 
fessional trick  work — a  brilliant 
combination  of  wipes,  zooms, 
multiple  exposures  and  other 
effects.  Moving  light  rays  and 
shadow  patterns  add  to  the 
beauty  of  this  modern  movie 
trick  work. 

"THE  END"  title  zooms  for- 
ward against  a  background  of 
moving  rays  and  it  will  finish 
your  movies  with  a  handsome 
professional  touch. 

League  leaders  are  given 
free  to  every  ACL  member 
when  he  renews  his  mem- 
bership. They  are  given 
free  to  every  ACL  member 
who  gets  a  new  member  for 
the  League. 

Renew    Your   Membership    in 

Advance     and     Get     One     of 

These    New    League     Leaders 

Immediately. 

League  leaders  are  also  offered  to 
members  of  the  Amateur  Cinema 
League  at  the  following  prices: 

8mm 50c 

16mm 60c 

Amateur  Cinema  League,  Inc.    » 

420  Lexington  Ave.,  New  York,  N.  Y.    jr 


■  AMPRO  Model  YSA,  like  new,  $250.0(1. 
FRANKLIN    DAVIS,    Ocilla,    Georgia. 

■  USED:  B  &  H  Filmo  70D,  turret  head,  with 
Hugo  Meyer  f/l.S  1"  lens,  Taylor  Hobson  Cooke 
f/3.3  3J4"  lens,  Tavlor  Hobson  Cooke  //3.5  1" 
lens,  Mayfair  case,  $175.00;  B  &  H  Filmo  70DA, 
turret  head,  with  Taylor  Hobson  Cooke  f/3.3  3^4" 
lens  and  f/3.5  1"  lens,  Mayfair  case,  $150.00. 
BOX   238,   Movie   Makers. 

EQUIPMENT  WANTED 

|  15MM.  //2.5  Taylor  Hobson,  focusing,  for 
16mm.  camera  B  &  H.  L.  H.  SAMARTINI,  13501 
Euclid  Ave.,  E.  Cleveland,  Ohio.  GL  2630. 

FILMS   FOR   RENTAL  OR  SALE 

■  MONEY  maker!  "The  World's  Greatest  Pas- 
sion Play."  16mm.  and  35mm.  sound  or  silent. 
Purchase  or  rent  everywhere.  Superior  to  Ober- 
ammergau  play.  Write  HEMENWAV  FILM  CO., 
33-B  Melrose  St.,  Boston,  Mass. 

■  8MM-16MM  Sound  and  silent  films,  projectors 
and  cameras;  bought,  sold  and  exchanged.  Trades 
and  terms  accepted.  Free  bargain  bulletin. 
ZENITH,  308  W.  44th  St.,  New  York. 

■  BARGAINS:  Used  16mm.  sound  films  for  out- 
right sale.  S4.00  per  reel  and  up.  MAJESTIC 
16MM  PICTURES,  1611  Davenport,  Omaha, 
Nebr. 

|  8-16mm.  FILMS  bought,  sold,  exchanged. 
Silent-sound  odd  reels,  $1.50.  Catalog,  sample 
film,  10c.  INTERNATIONAL,  2120  Strauss, 
Brooklyn,  N.  Y. 

■  THE  LAMBETH  WALK  in  16mm.  sound,  on 
Adolph  Hitler  and  His  Goose-Stepping  Cohorts. 
90  feet  of  sustained  laughter.  Order  your  copy 
today — only  $6.00.  HABER  &  FINK,  INC.,  12 
Warren  St.,  New  York  City.   BArclay  7-1230. 

■  RENT  8-16mm.  films  by  week.  New  catalogs. 
Rates  only  35c  and  up.  DAYTON  FILM 
RENTAL,   2227   Hepburn,    Dayton,   Ohio. 

FILMS  FOR  EXCHANGE 

■  EXCHANGE:  Silent  pictures,  $1.00  reel. 
Finest  sound  film  programs,  rent  reasonable;  also 
sell.  CINE  CLASSIC  LIBRARY,  1041  Jefferson 
Ave.,  Brooklyn,  N.  Y. 

■  SOUND,  silent  films  exchanged,  rented, 
bought;  S  K  16mm.;  always  bargains.  Get  on  our 
list.  FRANK  LANE,  80  Boylston,  Boston,  Mass. 

■  8MM.  FILMS!  Castle  Releases.  50  ft.  180  ft. 
New  prints.  Good  used  prints.  Sales.  Exchanges. 
Trade-ins.  RIEDEL  FILMS.  Dept.  MM-342,  2221 
W.    67th   St.,   Cleveland,   Ohio. 

TRADING  OFFERS 

■  REVOLVERS,  PISTOLS,  SHOTGUNS, 
RIFLES — very  liberal  allowances  for  such  fire- 
arms toward  purchase  of  photographic  equip- 
ment. In  spite  of  present  conditions,  we  can 
make  immediate  delivery  of  Bolex  cameras,  East- 
man Model  90  Smm.  Cine-Kodaks,  Bell  X 
Howell  8mm.  and  16mm.  projectors.  Bell  & 
Howell  Filmosounds.  1-inch  //1.5  lenses,  1^-inch 
f/1.9  lenses.  2-inch  .f/1.9  lenses.  15mm.  f/l.S 
lenses,  2-inch  f/1.6  lenses,  Kodak  Ektras,  and 
other  items  now  very  scarce.  Write  for  full 
particulars.  NATIONAL  CAMERA  EX- 
CHANGE. Established  1914,  11  So.  5th  St.. 
Minneapolis.   Minn. 

MISCELLANEOUS 

■  ED1TOLA — for  double  system  16mm.  Sep- 
arate heads  for  sound  and  picture.  Shows  picture 
and  reproduces  sound.  Particulars.  EDlTOLA. 
S94  Woodland  Ave.,  Oradell.  N.  J. 


Let  vour  movie  wrinkles  earn 
DEFENSE  STAMPS  for  you... 

For  any  idea  acceptable  for  The  clinic 
department  in  this  magazine.  Movie 
Makers  will  pay  S1.00  in  Defense 
Stamps.  For  any  idea  for  The  clinic 
accompanied  by  a  photographic  il- 
lustration or  a  drawing  Movie  Makers 
will  pay  S3. 00  in  Defense  Stamps. 
Send  your  filming  stunts,  your  plans  for 
homemade  equipment,  to  The  clinic  and  add 
to    your    Defense    Stamps. 

MOVIE   MAKERS 


420   Lexington   A-, 


New   York.   N.    Y. 


THERE'S  no  time  for  retakes 
today.  You  want  to  know  that  your  movies  will  be  com- 
pletely right.  Every  scene  in  every  sequence.  You  want 
crispness  and  warmth  and  richness — and  sensitiveness  to 
every  delicate  shading.  Probably  you  want  color,  too. 
You'll  take  your  movies  as  carefully  as  you  can,  of  course. 
Yet,  if  you  err  a  little  now  and  then,  you  want  the  assurance 
that  your  film  will  lend  a  helping  hand. 

All  this  is  manifestly  true.  And  equally  true  is  the  con- 
tention of  seasoned  cinamateurs  that  these  vital  specifica- 
tions are  particularly  applicable  to  Cine-Kodak  Films.  To 
full-color  Kodachrome.  To  the  ever-dependable  Cine-Kodak 
Panchromatic  Film.  To  the  faster,  fine-grained  Cine-Kodak 
Super-X  "Pan."  To  the  ultra-fast  Cine-Kodak  Super-XX 
"Pan."  And  even  to  the  amazingly  low-cost  Cine-Kodak 
"Safety  Pan"  for  100-foot  16-mm.  cameras. 

Whether  your  camera  is  notable  for  economy,  or  for 
versatility,  use  ever-dependable  Cine-Kodak  Films  for  the 
good  and  satisfying  movies  any  good  camera  should  make. 


EASTMAN   KODAK  COMPANY 


Cine 

-Kodak  Super-XX 

"Pan 

For 

16-n 

1TQ. 

cameras, 

only. 

50- 

foot 

roll 

$4, 

magazine,    $4.30; 

100-foot 

roll, 

$7.20. 

.J   CINI-KODAK  l 
I      »<V4  Speed 

■H     PaMctvtcuttatia 
I  SAFETY  FILM 


I  Safety*^ 

EASTMAN  ^X*, 


Cine-Kodak  Safety  "Pan" 
In  100-foot  16-mm.  rolls, 
$4.80. 

All    Prices  Include 
Processing 


only, 


ROCHESTER,   N.  Y. 


ine   of    the  Amateur 


league,    Inc. 


APRIL,  1942 


AN  URGENT  CALL  TO  FILMERS 
UNITED  STATES  GOVERNMENT 


*IT'S  A  DOG'S  LIFE! 


«  Short  subject  producer  tells  tricks 
of  trade  in  filming  dogs. 


*  LETTERING   TITLES 


e  How  you  can  plan  and  draw  your 
©W8s  title  letters. 


•  CAMERA  VIEWPOINTS 


•  Phot©  feature  illustrating 
hxl  camera  positions. 


2ftr 


EVERY  NEW   MEMBER    GETS. 


The  ACL  Movie  Book 


IT'S  the  latest  book  on  amateur  movie  making!  .  .  .  It's  the 
biggest  book  about  the  subject  written  in  the  past  decade! 

311  PAGES— OVER  100  ILLUSTRATIONS-FRAME 
ENLARGEMENTS— PHOTOGRAPHS— DRAWINGS  I 
INTERESTING  —  NEW  IDEAS  —  SIMPLY  WRIT- 
TEN— ACCURATE— COMPLETE— FULL    INDEX. 

Written  by  the  staff  of  the  Amateur  Cinema  League — com- 
piled from  their  experiences  in  serving  thousands  of  movie 
makers  for  over  a  decade,  this  book  represents  the  latest 
and  simplest  cine  technigue.  It  is  based  on  what  amateurs 
do.  It  tells  you  what  you  want  to  know  because  it  comes 
from  the  needs  and  guestions  of  over  21,000  League  mem 
bers — every  one  a  real  movie  maker. 

The  new  book  is  packed  with  information  and  it 
is  simply  written  in  an  informal  style.  You  will 
find  it  fascinating,  and  you  may  be  sure  that  the 
information  is  correct  —  IT'S  AN  ACL  PUBLICA- 
TION. 

GET  THIS  NEW  BOOK  IN  ADDITION  TO  THE 

SERVICES  AND  PUBLICATIONS  LISTED  BELOW 

ALL  FOR  $5.00  A  YEAR 


if  MOVIE  MAKERS  .  .  .  Membership  includes  a  sub- 
scription to  Movie  Makers  monthly,  which  covers 
every  phase  of  amateur  and  practical  filming. 
Each  month  there  are  articles  for  the  beginner  as 
well  as  for  the  experienced  movie  maker. 

if  Technical  consulting  service.  .  .  Any  League  mem- 
ber can  put  his  movie  making  problems  up  to  the 
technical  consultant,  and  he  will  receive  prompt, 
detailed  service. 

if  Continuity  and  film  planning  service  .  .  .  The  con- 
tinuity consultant  will  aid  you  in  planning  specific 
films  by  offering  you  continuity  and  treatment 
suggestions,  ideas  on  editing  and  title  wordings. 

if  Club  service  .  .  .  Those  who  wish  to  organize  a 
club — either  for  the  production  of  films  or  for  the 
interchange  of  ideas  between  cameramen  —  will 
obtain  full  aid. 

ir  Film  review  service  .  .  .  You  may  send  films  to  the 
League  for  criticism  and  review. 

if  Booklets  and  service  sheets  .  .  .  These  are  available 
to  all  members.  Booklets  are  sent  automatically, 


as  published,  to  members  who  request  them.  Book- 
lets now  current  are: 

Color  filming — 27  pages,  illustrated 

Featuring  the  family — 34  pages 

Lighting  personal  movies — 37  pages,  illus- 
trated 

Films  and  filters — 31  pages,  illustrated 

Building  a  Dual  Turntable — 30  pages,  illus- 
trated 

if  Equipment  service  .  .  .  The  League  aids  members 
in  locating  new  equipment. 

if  Film  Exchange  ...  A  member  may  list  his  films 
for  temporary  loan  among  other  members  and  will 
receive  in  return  a  list  of  films  offered  by  other 
members. 

if  Special  services  ...  in  two  important  fields  are 
available.  Through  the  Film  Review  Chart  a  mem- 
ber can  get  particularly  efficient  criticism  on  his 
reels.  By  means  of  the  Film  Treatment  Chart,  a 
member  may  secure  individually  prepared  film 
plans  and  continuity  outlines.  These  charts  are 
supplied  on  request  to  members  only. 


AMATEUR  CINEMA  LEAGUE,   Inc. 

420  Lexington  Ave.  Date 

New  York.  N.  Y.,  U.  S.  A. 

I  wish  to  become  a  member  of  AMATEUR  CINEMA  LEAGUE,  Inc.  My  remittance  for  S5.00. 
made  payable  to  AMATEUR  CINEMA  LEAGUE.  Inc..  is  enclosed  in  payment  of  dues.  Of  this  amount, 
I  direct  that  $2  be  applied  to  a  year's  subscription  to  MOVIE  MAKERS.  (To  nonmembers,  subscrip- 
tion  to  MOVIE  MAKERS  is  S3  in  the  United  States  and  possessions:  $3.50  in  Canada,  $3.50  in  other 
countries.) 

MEMBERSHIP    $5    a    year 

Name 

Street     

City State 

Apr.  *42 


GET    THESE    INDISPENSABLE 
FILMING  AIDS  AT  ONCE  FOR 


Five  dollars  a  year 


Amateur  Cinema  League,  inc. 


420  Lexington  Ave. 


New  York,  New  York,  U.  S.  A. 


kxt- 


Gaining  altitude 


TO  get  movies  that  hit  new  highs  in 
snap  and  sparkle;  that  breathe  life 
into  people,  backgrounds,  clouds,  sky, 
start  using  Hypan  Reversible  now.  This 
Agfa  Ansco  product  comes  in  8  or  16mm. 
— and  it's  ideal  for  outdoor  work.  Hypan 
Reversible  is  fast,  fine-grained  and  fully 
panchromatic.  Its  brilliant  gradation  as- 


sures you  of  a  pleasing  projection  quality. 
16mm.  Hypan  is  supplied  in  100  ft. 
rolls  at$6.40;in50  ft. rolls  at $3.45. Twin- 
Eight  Hypan  is  only  $2.40  for  double- 
width  25  ft.  rolls.  Prices  include  process- 
ing and  return  postage.  Agfa  Ansco, 
Binghamton,  New  York.  lOO 
Years  of  American  Photography. 


Agfa  Ansco 

HYPAN 
REVERSIBLE  FILM 


MADE    IN   U.S.A. 


136 


MORE 


Ittkettljau'Mie.a 


DWEI 


CHALLENGER 

SCREEN 


(Reg.  U.  S.  Pat.  Off.) 


•  Its  specially-processed  Da-Lite 
Glass-Beaded  Surface  makes  pic- 
tures brighter  and  sharper  and 
brings  out  colors  faithfully  in  full 
brilliance. 

•  Slotted  square  tubing  in  the  tri- 
pod and  solid  square  tubing  in  the 
extension  support  assure  perfect 
alignment  and  greater  rigidity.  Da- 
Lite's  patented  slotted  construc- 
tion with  inner-locking  mechanism 
makes  the  Challenger  the  easiest 
of  all  portables  to  set  up  and  to 
adjust  in  height. 

•  Because  of  the  economies  of 
large-scale  production,  the  Chal- 
lenger gives  you  unmatched  value. 
The  30"  x  40"  size  is  only  $12.50 
(slightly  higher  on  Pacific  Coast). 
There  is  no  Federal  excise  tax  on 

J  screens. 
r    Ask    your    dealer    for    the    time- 
proved  Da-Lite  Challenger.  Write 
for  literature. 


DA-LITE  SCREEN  COMPANY,  INC. 


Dept.  4MM 


2721   No.    Crawford  Ave. 


Chicago,  III. 


33  IjeaM, 


Closeups — What   fil 


mers   are 


APRIL    1942 


lomg 


Russell  C.  Holslag,  ACL,  who  has  been 
advertising  manager  of  Movie  Makers 
since  1932,  has  resigned  to  join  the 
staff  of  J.  A.  Maurer,  Inc.,  manufactur- 
ers of  16mm.  sound  on  film  recording 
equipment.  In  his  new  work,  Mr.  Hol- 
slag will  train  new  users  in  the  tech- 
nique of  operating  Maurer  sound  on 
film  units.  Donald  Maggini,  formerly  of 
Cincinnati,  who  has  had  previous  ex- 
perience in  the  publishing  and  selling 
field,  has  been  added  to  the  staff  of 
Movie  Makers,  to  handle  advertising. 
Another  staff  change  has  occurred  in 
the  continuity  department.  Gordon  L. 
Hough  has  resigned  as  assistant  to  the 
continuity  consultant,  to  join  the  movie 
production  department  of  March  of 
Time.  The  new  assistant  to  the  con- 
tinuity consultant  is  James  N.  Young, 
jr.,  formerly  of  the  staff  of  Time,  Inc. 

Dr.  Edgar  Dale,  FACL,  director  of  the 
Bureau  of  Educational  Research,  Ohio 
State  University,  has  been  announced 
as  educational  adviser  to  Lowell  Mel- 
lett,  coordinator  of  government  films,  in 
Washington,  D.  C.  Dr.  Dale  will  work 
in  collaboration  with  Arch  A.  Mercey, 
deputy  coordinator,  who  was  formerly 
head  of  the  U.  S.  Film  Service  and 
more  recently  in  charge  of  motion  pic- 
tures for  the  Office  for  Emergency 
Management. 

Instruction  for  the  Air  Raid  Warden 
has  been  announced  by  the  Research 
Council  of  the  Academy  of  Motion  Pic- 
ture Arts  and  Sciences  as  the  first  film 
to  go  before  Hollywood  cameras  in  the 
Research  Council's  series  of  pictures 
for  Civilian  Defense.  Lieut.  Colonel 
Charles  S.  Stodter  will  serve  as  War 
Department  liaison  officer,  with  Lieut. 
Colonel  Walter  P.  Burn,  chief  of  the 
Training  Division  of  the  Office  of  Civil- 
ian Defense,  as  technical  adviser. 

Twenty  six  air  raid  wardens  gathered 
recently  in  the  Cliff  Sanders  Theatre, 
basement  showshop  designed  by  Clif- 
ford S.  Sanders,  ACL,  of  Philadelphia, 
for  a  screening  of  Fighting  the  Fire 
Bomb,  first  defense  training  film  to  be 
released  by  the  Office  of  Civilian  De- 
fense. So  successful  was  this  post  gath- 
ering that  the  wardens  decided  at  once 
to  enlarge  the  scope  of  their  screenings, 
to  include  the  public  in  their  entire 
sector.  This  new  program  is  being  car- 
ried out  successfully  with  the  coopera- 
tion of  the  management  of  The  Sunken 
Gardens,  a  local  restaurant  which  has 
offered  the  free  use  of  one  of  its  ban- 
quet rooms. 

J.  F.  Hubbard,  ACL,  of  Muncie,  Ind., 
who  has  found  outright  defense  instruc- 
tional  films   somewhat   scarce,   has   hit 


upon  another  effective  way  of  using  his 
projector.  He  has  spliced  together  a 
number  of  the  latest  topical  pictures  re- 
leased by  16mm.  commercial  distrib- 
utors— such  as  Japs  Bomb  U.S.A.  and 
the  Castle  News  Parade — and  screens 
them  free  of  charge  before  any  club 
group  in  his  community  that  he  can  get 
to  see  them.  He  states  that  this  pro- 
gram is  doing  well  in  the  matter  of 
morale. 

George  W.  Cable,  ACL,  who  has  car- 
ried his  camera  around  the  world  in 
search  of  cine  subjects,  reports  that  he 
has  now  found  a  bright  new  mine  of 
subject  matter  practically  in  his  back 
yard  at  Palo  Alto,  in  California.  His 
lead  title,  A  Scandinavian  Dear  Hunt, 
may  or  may  not  give  you  some  idea; 
but,  not  to  keep  you  in  suspense,  his 
real  subject  matter  is  Far  North  folk 
dancing.  In  search  of  this  colorful  and 
dramatic  activity,  Mr.  Cable  has  trav- 
eled widely  around  his  State  and  re- 
ports successful  "hunting"  on  the  Sutro 
estate,  in  Atherton,  in  Sigmund  Stern 
Grove,  in  San  Francisco,  and  other  less- 
er gathering  places.  He  recommends, 
for  dance  filming,  the  use  of  a  four  inch 
telephoto  on  a  tripod  placed  above  the 
crowd,  and  he  suggests  for  your  musi- 
cal accompaniment  of  the  finished  film 
such  records  as  Vackra  Nets  (Victor), 
Folklatar  (Columbia)  and  Vingakers- 
dansen   (Odeon). 

When  Lewis  B.  Sebring,  jr.,  ACL, 
called  us  on  the  telephone,  a  while  ago, 
to  say  that  he  was  leaving  on  a  secret 
mission,  we  kept  silent  and  speculated 
upon  his  destination.  All  is  now  clear. 
This  veteran  news  man,  fine  filmer  and 
Movie  Makers  author  is  sending  from 
Australia,  to  the  New  York  Herald 
Tribune,  brilliantly  written  reports  of 
"down  under"  and  what  is  happening 
there,  the  first  of  which  appeared 
March  18,  on  page  one  of  his  paper. 
The  American  forces  in  Australia  have, 
in  Mr.  Sebring,  a  correspondent  second 
to  none  in  understanding  of  military 
life,  because  he  spent  the  last  two  years 
in  Army  camps  in  this  country.  All  his 
ACL  brethren  send  to  the  League's  first 
soldier  of  information  to  serve  abroad 
their  heartfelt  "God  bless  you!" 


THE  SUN  IS  BRIGHT 
In  the  bright,  clear  days  of  summer, 
take  special  care  to  avoid  fogging  the 
film  when  you  load  the  camera.  Always 
load  the  camera  in  the  shade  —  the 
deeper  the  shade,  the  better.  Do  not 
turn  the  film  spool  so  that  the  film 
surface  itself  faces  the  light.  If  you 
have  time,  it  is  best  to  load  the  camera 
indoors.  You  might  better  be  safe  than 
sorry. 


137 


MOVIE     MAKERS 


The    Magazine    of    the    Amateur    Cinema    League,    Inc. 


t~*  t~%    1VI    T    f^    TVI 


Volume  17 


April,   1942 


Number  4 


Cover    photograph Ewing  Galloway 

Closeups ,       .  136 

Famous    shrine    filmed 138 

Free    film    reviews 140 

Conserving     striped     bass 142 

The  first  call,  editorial . 143 

It's     a     dog's     life! Russell   T.  Ervin,  jr.  145 

Next   trip— Quebec Walter   P.   Downs,   ACL  146 

Home    town    films Kenneth   F.   Space,   ACL  147 

Camera  viewpoints 148 

Where    have    you    filmed? 150 

Lettering    for    your    titles Victor   Ancona,   ACL  153 

Art   title    background,    photograph Meisel   from    Monkmeyer  154 

Easter  at  home Gabriel    V.  Pascarella,  ACL  155 

A  cine  camera  on  the  "night  off" Gordon  L.  Hough  158 

Amateur    clubs James    W.   Moore,   ACL  159 

The     clinic Kenneth   F.  Space,  ACL  160 

A  plan  for  surgical  filming Marshall  Smith,  M.D.  162 

Practical    films Gordon  L.  Hough  163 

News    of    the    industry Russell  C.  Holslag,  ACL  164 

Films    you'll    want    to    show '.                                  166 

16mm.   movies   as    court   evidence William  W.  Wilson,  ACL  169 

Statement    from    Director   of    Censorship 174 


Meisel  from  Monkmeyer 


ARTHUR     L.     GALE 

Editoi 


rvioviE 


JAMES  W.  MOORE 
Continuity  Editor 

KENNETH  F.  SPACE 

Technical  Editor 

ALEXANDER  de  CANEDO 
Art  Editor 

DONALD  MAGGINI 

Advertising  Department 


RS 


is  published  monthly  in  New  York,  N.  Y..  by  the  Amateur  Cinema  League,  Inc. 

Subscription  rate  $3.00  a  year  postpaid  (Canada  and  Foreign  $3.50);  to  members  of  the 
Amateur  Cinema  League,  Inc.,  $2.00  a  year,  postpaid;  single  copies  25c  (in  U.  S.  A.)-  On 
sale  at  photographic  dealers  everywhere.  Entered  as  second  class  matter,  August  3,  1927, 
at  the  Post  Office  at  New  York,  N.  Y.,  under  act  of  March  3.  1879.  Copyright,  1942,  by  the 
Amateur  Cinema  League,  Inc.  Title  registered  at  United  States  Patent  Office.  Successor  to 
Amateur  Movie  Makers,  title  registered  at  United  States  Patent  Office.  Editorial  and 
Publication  Office:  420  Lexington  Avenue,  New  York,  N.  Y.,  U.  S.  A.  Telephone  MOhawk 
4-0270.  Advertising  rates  on  application.  Forms  close  on  10th  of  preceding  month. 

CHANGES  OF  ADDRESS:  A  request  for  a  change  of  address  must  reach  us  at  least  by 
the  twelfth  of  the  month  preceding  the  publication  of  the  number  of  Movie  Makers  with 
which  it  is  to  take  effect.  Duplicate  copies  cannot  be  sent  when  a  number  of  the  magazine 
does  not  reach  you  because  of  failure  to  send  in  this  advance  notice.  The  Post  Office  will 
not  forward  copies   unless   extra  postage   is  provided   by  you. 


138 


APRIL    1942 


The  New 

DA-SCOPE 

KODACHROME 

VIEWER 


Closed 


A  compact  folding  slide  viewer 
handsomely  made  of  durable  red 
and  white  plastic,  that  practically 
makes  Kodachrome  stills 
"breathe."  The  magnification  of 
the  viewing  lens  is  such  that  the 
smallest  detail  is  brought  into 
sharp  and  clear  focus.  The  lens 
springs  into  position  when  the  Da- 
Scope  is  opened.  The  translucency 
of  the  white  plastic  top  permits 
both  sufficient  illumination  and 
diffusion  for  viewing  the  slide. 
The  small  size  (2%  x  2%  x  %  ") 
and  light  weight  of  the  Da-Scope 
make  it  truly  a  "vest-pocket"  in- 
strument. 


$1.95 


MAIL  ORDERS  FILLED 


32nd  St.  near  6th  Ave.,  New  York 
Established  1898 


FAMOUS   SHRINE   FILMED 


SWARNAMALI,  a  1600  foot  Koda- 
chrome sound  production,  which  re- 
cords the  crowning  of  the  shrine  of 
Swarnamali  at  Anuradhapura,  was 
filmed  in  1940  and  '41  in  Colombo, 
Ceylon,  by  A.  E.  Ephraums,  ACL. 
W.  D.  F.  Perera  cooperated  in  this  first 
full  length  film  made  in  Ceylon,  and  it 
would  have  been  difficult  to  choose  a 
more  majestic  and  triumphant  cere- 
mony for  the  island's  motion  picture 
debut. 

Buddhism   in   Ceylon 

The  movie  is  a  combination  of  Cey- 
lonese  history  and  the  Buddhist  religion 
that  is  inextricably  linked  with  it.  The 
introduction  takes  us  back  2500  years 
to  trace  the  story  of  the  great  Maha 
Thupa,  or  shrine.  Lamini  Abbaya,  the 
Hero  King  of  Lanka,  began  the  con- 
struction of  the  shrine  of  Swarnamali, 
or  "Mound  of  Golden  Sand,"  as  his  be- 
quest to  posterity,  but  he  did  not  live 
to  see  its  completion.  The  monument 
was  finished  by  his  brother  and  suc- 
cessor, King  Saddha  Tissa,  more  than 
2000  years  ago,  and  it  was  filled  with 
relics  brought  from  distant  places  in 
India.  This  shrine  has  always  been 
dearer  to  the  people  of  Ceylon  than  the 
pagodas,  palaces  and  huge  parks  that 
were  left  by  other  ancient  rulers. 

Centuries  passed,  and  Swarnamali 
fell  in  ruins,  as  the  tide  of  nationalism 
and  religion  ebbed.  Restored  once,  it 
suffered  further  damage  and  was  final- 
ly rebuilt  in  1940  by  Ceylonese  who 
possessed  some  of  the  fervor  of  their 
ancestors.  The  climax  of  the  restoration 
came  when  the  seinbu,  or  giant  crystal, 
was  placed  atop  the  shrine.  This  stone, 
sent  by  the  Buddhists  of  Burma,  is  a 
splendid  sight,  standing  two  feet  high 
on  its  base  of  solid  gold,  studded  with 
sapphires,  rubies  and  other  precious 
jewels.  The  crowning  of  the  edifice, 
amid  the  traditional  pageantry  of  the 
East,  is  likewise  the  climax  of  Sivarna- 
mali. 

Historical    record 

The  ACL  has  not  had  the  privilege 
of  seeing  this  film,  but  Mr.  Ephraums 
submitted  a  wealth  of  material,  includ- 
ing reproductions  of  "stills"  and  clip- 
pings from  local  newspapers,  some,  for- 
tunately, printed  in  English.  Unani- 
mously, the  reviewers  applauded  the  ex- 
cellent color  work,  the  narrative  in  both 
English  and  Sinhalese,  and  they  praised 
the  movie  as  one  "not  to  be  missed." 
All  were  impressed  with  the  perma- 
nent value  that  the  film  will  have  as  a 
"documentary"  record  of  a  historic  oc- 
casion, and  they  commended  the  pro- 
ducers' dignified  and  restrained  treat- 
ment of  the  subject. 


Frames  from  "Swarnamali,"  record 
of   restoration    of   Buddhist   shrine 


**  SHABP8?*  MOVIES  <2k«. 
mm.  out  ^IFm©<SCS[lTr  CONT 

—  Ute  ScAeMtijjicGlLf.  JheMcfWed 


SPROCKET  CONTROL  is  a  vital  part  of  the  finest  16  and 
35  mm  cameras,  generally  used  by  professional  cameramen, 
including  newsreel  photographers  who  must  get  sharp  pictures 
of  action  as  it  happens.  In  the  Revere  8  mm  Camera  an  exclu- 
sive reciprocating  sprocket  completely  absorbs  any  variance 
of  film  tension  caused  by  the  change  in  speed  of  the  film  as  it 
winds  on  to  the  take-up  spool.   (No  tugging  on  the  film  gate!) 
The  Revere's  sprocket  also  keeps  the  loop 
below  the  film  gate  constantly  at  the  proper 
size  to  insure  free  movement  at  all  times. 
For    sharp,    steady    8    mm    movies,    ask 
your  dealer  for  the  Revere  Camera,  with 
sprocket   film   control!    Write  for  litera- 
ture! Revere  Camera  Company,  Dept.  4  MM, 
320  E.  21st  St.,  Chicago,  Illinois. 


REVERE   MODEL    88 

Complete  with   F3.5   lens  $38.50 


As  shown  by  the  above  illustration, 
you  drop  the  reel  of  new  film  on 
to  the  take-up  spindle,  place  the 
film  in  the  gate  so  that  it  follows 
the  white  line  for  the  loop  and  run 
it  around  the  sprocket  and  on  to 
the  take-up  reel.  Then  close  the 
gate  and  door  and  you're  ready 
to  shoot. 

REVERE  '88'  CAMERA 

takes  movies  of  which  you  will  be  truly  proud. 
Here  are  a  few  of  its  many  advanced  features: 
Eastman-licensed  spool  and  spindles,  precision- 
built  mechanism,  5  speeds  with  positive  speed 
governor  control,  built-in  parallax-corrected 
view-finder,  and  reciprocating  sprocket  film 
control.  Complete  with  Wollensak  F  3.5  lens, 
S38.50. 


Revere 


REVERE   801  PROJECTOR 

For  sharp,  brilliant  movies,  ease  of 
threading  and  simplicity  of  operation, 
the  Revere  8  mm  Projector  is  today's 
outstanding  value.  It  excels  in  features 
essential  to  perfect  projection,  smooth 
performance  and  complete  film  protec- 
tion; powerful  AC-DC  motor,  double 
blower  cooling  system  for  lamp  and 
film,  high-ratio  duplex  shuttle  film 
movement,  enclosed  precision  mech- 
anism (no  belts),  fast  rewind,  radio  in- 
terference eliminator.  Complete  with 
500  watt  lamp,  F  1.6  lens  and  one  300- 
ft.  reel,   S75.00. 

REVERE  '85'  PROJECTOR 

has  the  same  features  as  the  "80"  plus 
duo-shield  light  diffuser,  micro-tilt, 
beam  threading  light  and  carrying 
case.  Complete  with  500-watt  lamp, 
F  1.6  lens  and  one  300-foot  reel, 
S89.50. 


(fujv/m/tf 


REVERE  ,99"  CAMERA 

To  the  mechanical  features  of  the 
"88"  have  been  added  in  this  model 
a  turret  head  for  three  lenses  and  an 
extra  optical  view  finder  for  use  with 
telephoto  lenses.  By  rotating  the  head 
you  can  change  instantly  from  regular 
Vz"  lens  to  I"  or  l'/2"  telephoto  lenses. 
Complete  with  one  Wollensak  F  2.5 
lens,  $77.50. 


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and  flfo4^iAeljf  ! 

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140 


APRIL    1942 


FREE  FILM  REVIEWS 

You  can  borrow  these  new  publicity  movies  without  charge 


THESE  films,  the  latest  publicity  pic- 
tures produced,  are  offered  on  loan, 
without  charge.  Some  may  be  available 
to  individuals,  and  others  are  available 
only  to  clubs  or  groups.  In  certain  cases, 
the  type  of  organization  to  which  the 
films  are  lent  without  charge  is  speci- 
fied. To  borrow  these  films  for  a  screen- 
ing, write  directly  to  the  distributor, 
whose  address  is  given.  (Note  carefully 
the  restrictions  mentioned  in  each  case. ) 

LATEST  RELEASES 
Great  Cargoes,  1  reel,  1100  feet,  16mm. 
sound    on    film,    color;     produced    by 
Moore-McCormack  Lines. 

Offered  to:  groups  only. 

Available  from:  Miss  Vera  Fee, 
Moore-McCormack  Lines,  5  Broadway, 
New  York,  N.  Y. 

Great  Cargoes  concerns  the  part 
played  by  our  merchant  marine  in  hem- 
isphere trade  during  peace  and  war- 
time alike.  For  example,  tractors  are 
made  in  an  Illinois  factory,  then  shipped 
to  Brazil  and  there  put  into  operation; 
in  return,  coffee  from  a  Brazilian  fazen- 
da  is  carried  to  a  North  American  port. 
Scenes  of  the  Panama  Canal  are  inter- 
esting, and  there  are  sequences  of  cof- 
fee growing,  ship  building  and  other  in- 
dustries. 

Educator's  comment:  Although  the 
script  is  very  disjointed,  this  film  might 
be  used  in  classes  of  junior  high  school 
level,    studying    transportation. — E.D.C. 

Alabama  —  Yesterday  and   Today,   2 

reels,  950  feet,  16mm.  sound  on  film, 
color;  produced  by  Alabama  State 
Chamber  of  Commerce. 

Offered  to:  established  groups  and 
clubs  only. 

Available  from:  Alabama  State 
Chamber  of  Commerce,  Montgomery, 
Ala. 

In  this  colorful  film  are  paraded 
views  of  a  State  in  which  the  old  and 
the  new  are  perfectly  blended.  There 
is  no  effort  to  depict  all  phases  of  Ala- 
bama life;  rather,  the  places  and  sights 
of  interest  to  the  tourist  are  emphasized. 
Mobile's  famous  Azalea  Trail,  inspir- 
ing views  of  mountains  in  northern  Ala- 
bama and  the  Gulf  Coast's  playgrounds 
are  some  of  the  high  lights  of  this 
movie. 

Let's  Go  Fishinq  Again,  1  reel,  800 
feet.  16mm.  sound  on  film  (also  2  reels, 
35mm.  sound  on  film),  black  and 
white;  produced  by  Fisher  Body  Divi- 
sion of  General  Motors. 

Offered  to:  groups  only. 

Available  from:  Fisher  Body  Divi- 
sion, General  Motors  Corporation,  Gen- 


eral Motors  Building,  Detroit,  Mich. 
Let's  Go  Fishing  Again,  a  sequel  to 
the  Let's  Go  Fishing  of  three  years  ago, 
features  the  champion,  Tony  Accetta, 
demonstrating  the  right  and  wrong 
methods  of  fly  casting.  As  Elmer  Q. 
Dub,  Accetta  shows  what  not  to  do  un- 
der various  conditions,  while,  as  him- 
self, he  discusses  types  of  flies,  accu- 
racy in  casting  and  the  knack  of  play- 
ing and  netting  fish.  From  fishing  for 
bass  along  quiet  lake  shores  to  battling 
brook  trout  in  swift  mountain  streams, 
Accetta  demonstrates  the  proper  use  of 
a  fly  rod.  A  sequence  about  conserva- 
tion of  fish  forms  an  important  part  of 
the  film.  Ted  Husing  is  the  narrator  of 
this  movie. 

Luray  Caverns  and  Shenandoah  Na- 
tional Park,  1  reel,  1025  feet,  16mm. 
sound  on  film,  color;  produced  by  Rob- 
ert C.  Harnsberger,  ACL. 

Offered  to:  groups  only. 

Available  from:  The  Beautiful  Cav- 
erns of  Luray,  Luray,  Va. 

The  first  part  of  this  film  shows  the 
scenic  Skyline  Drive  winding  over  the 
Blue  Ridge  Mountains,  through  Shen- 
andoah National  Park.  Wildflowers.  wa- 
terfalls and  lookout  points  pass  before 
us.  Leaving  the  Drive  at  Luray.  Va.,  we 
stop  at  the  famous  caverns.  We  see  the 
unusual  formations  of  stalactites  and 
stalagmites,  built  up  through  the  cen- 
turies by  drops  of  water.  A  party  of 
tourists  is  taken  through  the  caverns  by 
a  guide  who  explains  the  points  of  in- 
terest. There  is  also  a  silent  version,  of 
approximately  the  same  length,  which 
deals  entirely,  with  cavern  scenes. 

Educator's  comment:  The  first  film 
is  excellent  for  elementary  and  junior 
high  school  groups  studying  the  Shen- 
andoah district  of  Virginia  and  West 
Virginia  and  the  national  parks.  The 
second  is  exceptionally  good  for  classes 
studying  geology  or  the  geography  of 
Virginia. — E.D.C. 

Make  Striped  Bass  a  Game  Fish,  2 
reels,  800  feet,  16mm.  silent  film,  black 
and  white;  produced  by  S.  C.  Dunton. 
ACL. 

Offered  to:  groups,  especially  Rod 
&  Gun  clubs. 

Available  from:  Harry  Stille.  Sec- 
retary, N.  J.  League  of  Surf  Anglers. 
39  Wall  Street,  Long  Branch,  N.  J. 

This  film  is  an  extensive  review  of 
the  art  of  striped  bass  fishing  along  the 
Jersey  coast.  Of  particular  interest  are 
the  scenes  of  night  fishing  on  the  slip- 
pery jetties  and  the  underwater  studies 
of  the  bass,  showing  the  type  of  ocean 
bottom  which  they  frequent.  The  depre- 


dations of  commercial  fishing  for 
striped  bass  are  shown,  and  this  fact 
has  caused  the  N.  J.  League  of  Surf 
Anglers  to  seek  to  make  striped  bass  a 
game  fish  by  law.  In  addition  to  these 
unusual  shots,  there  are  many  beach 
scenes  of  conventional  surf  casting. 

RECENT  RELEASES 
Highways  of  New  England,  1  reel, 
400  feet,  16mm.  sound  on  film,  color; 
produced  by  the  State  Highway  De- 
partments of  New  Hampshire  and  Ver- 
mont. 

Offered  to:  groups  and  individuals. 

Available  from:  United  States 
Travel  Bureau,  45  Broadway,  New 
York,  N.  Y. 

Highways  of  New  England  describes 
a  motor  trip  through  Vermont  and  New 
Hampshire,  and  it  presents  such  inter- 
esting spots  as  Lake  Winnepesaukee, 
Montpelier,  Concord  and  Dartmouth 
College.  The  trip  also  includes  a  coun- 
try fair,  a  tour  of  some  maple  sugar 
farms  and  marble  quarries  and  the  as- 
cent of  lofty  Mt.  Washington  in  the 
White  Mountains. 

Educator's  comment:  This  movie 
can  be  recommended  for  elementary 
and  junior  high  school  classes  that  are 
studying  New  Hampshire  and  Ver- 
mont.— E.D.C. 

Along  the  Great  Silk  Route,  30  min- 
utes, 16mm.  and  35mm.  sound  on  film, 
color;  produced  by  the  Jam  Handy 
Organization. 

Offered  to:  groups  only. 

Available  from:  Department  of 
Public  Relations,  General  Motors  Cor- 
poration, 1775  Broadway,  New  York, 
N.  Y. 

Over  the  oldest  road  known  to  man, 
a  modern  expedition  wends  its  way, 
stopping  at  interesting  points  across 
Europe  and  Asia  Minor  on  the  road  to 
India.  Camel  caravans  of  overland 
trade,  carrying  silks  and  spices, 
plodded  along  this  road,  used  also  by 
conquering  hordes  of  Alexander  the 
Great,  Genghis  Khan  and  Tamerlane. 
Filmed  just  before  the  outbreak  of  war, 
military  conditions  and  organizations 
are  described  along  the  road. 

Educator's  comment:  This  lovely 
color  picture  presents  the  general  con- 
ditions of  many  lands  in  Europe  and 
Asia  Minor  and  so  is  of  great  value  to 
modern  history  classes.  Because  in 
many  of  these  countries  people  have 
lived  in  the  same  manner  for  centuries, 
the  film  is  also  highly  useful  for  world 
or  ancient  history  classes  and  in  geog- 
raphy studies. — E.D.C. 


MOVIE    MAKERS 


141 


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Amazing,  authentic  record  of  our  surprise  blitz  on  the 
Marshall  Islands!  Filmed  under  fire!  Grim,  gripping 
action!  Our  ships,  our  planes,  our  straight-shooting  big 
guns  wage  lightning  war!  Jap  planes  shot  down!  Jap 
ships  sinking!  Jap  shore  bases  made  useless!  Here  is  the 
on-the-spot  record  for  now  and  posterity!  For  every  pro- 
jector owner  to  possess!  Costs  less  than  unexposed 
film!  Act  to  own  this  historic  picture  today! 
All  Castle  16  MM  films  are  processed  by  VAP-0-RATE.  All  Castle  8  MM  are  also  treated. 


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142 


APRIL    1942 


Hz  /      Iran  count0" 

with  my  G-E 

EXPOSURE  METER" 

says  RUDY  MATE,  ASC 


CONSERVING  STRIPED  BASS 


Be  or  Not 

EXPOSURE  has  to  be  right  for 
movies.  That's  why  so  many 
Hollywood  experts,  like  Rudolph  Mate 
of  Universal,  use  the  G-E  exposure 
meter.  Get  a  G-E  and  let  its  consistent 
accuracy  help  your  camera  get  better 
pictures — movies  or  color. 

You'll  save  on  film  and  avoid 
"missed"  shots.  You'll  get  positive 
protection  of  shadow  detail  with  the 
G-E's  sharply  directional  hood;  extreme 
sensitivity;  and  3  meters  in  one — for 
exposure,  for  light-balancing,  and  for 
printing  and  enlarging.  It  has  many 
other  features  you'll  like.  Ask  your 
dealer.  General  Electric,  Schenectady, 
New  York. 


3  METERS 
IN  ONE! 


IN  Make  Striped  Bass  a  Game  Fish, 
released  on  January  1  by  the  New 
Jersey  League  of  Surf  Anglers,  S.  C. 
Dunton,  ACL,  of  Pan  Photos,  New 
York  City,  lists  the  various  types  of  big 
game  fishing,  with  emphasis  on  the 
methods  of  taking  striped  bass  along 
the  Jersey  coast.  The  climax  of  this 
800  foot  black  and  white  16mm.  film 
shows  the  efforts  of  the  Surf  Anglers 
to  have  striped  bass  protected  by  law 
and  thus  to  prevent  harmful  effects  on 
the  sport  caused  by  commercial  fishing. 

Of  particular  interest  are  the  under- 
water studies  of  striped  bass  and  the 
night  scenes,  filmed  on  the  slippery 
rock  jetties  which  extend  hundreds  of 
feet  out  into  the  ocean  on  the  coast  near 
Long  Branch.  N.  J.  Here  the  "jetty 
jockies,"  as  they  are  called,  often  fish 
all  night,  with  heavy  waves  and  surf 
breaking  over  them.  The  two  subsur- 
face sequences  depict  the  fish  swim- 
ming about  the  jetties  and  also  show 
their  natural  feeding  grounds  in  the 
Malaka  and  Maurice  rivers.  Another 
feature  is  the  exciting  "white  water" 
fishing  at  Beach  Haven,  N.  J.  Directed 
by  William  C.  Mackay,  jr.,  the  film  was 
shot  by  Mr.  Dunton,  with  the  assist- 
ance of  Frank  Weitzman. 

The  film  has  already  met  with  con- 
siderable local  success,  as  shown  by  the 
following  review  by  Stewart  Vanvliet 
in  the  Red  Bank  (N.  J.)  Register.  '"It 
is,  without  doubt,  one  of  the  finest  pic- 
tures of  its  kind  that  I  have  seen.  It 
shows  striped  bass  fishing  in  all  its 
phases  and  impresses  on  you  what  a 
swell  sport  it  is  and  how  it  can  be  in- 
dulged in  by  the  average  man  at  a 
relatively  small  cost.  It  should  make 
many  friends  for  the  N.  J.  League  of 
Surf  Anglers." 

Mr.  Dunton,  for  fifteen  years  photog- 
rapher for  the  New  York  Zoological  So- 
ciety, has  made  such  educational  mov- 
ies as  Trailing  the  Seahorse,  The  Tar- 
pon and  others.  One  of  his  most  inter- 
esting assignments  was  filming  the  un- 
explored cave  of  La  Cueva  Chica  in 
San  Luis  Potosi,  Mexico,  and  the  sub- 
sequent hunt  for  the  blind  fish  living 
in  the  underground  river  of  the  cavern. 
Mr.  Dunton  writes  that  the  cinematic 
problems  posed  by  the  cave  were  fully 
as  challenging  as  were  the  zoological 
problems  of  bats,  snakes  and  scorpions. 

Make  Striped  Bass  a  Game  Fish  is 
being  released  generally  to  rod  and  gun 
clubs  and  to  other  interested  groups, 
and  it  was  screened  at  the  annual 
sportsman's  show  in  New  York  City. 
For  the  details  of  its  distribution,  see 
the  Free  Film  Reviews  in  this  number. 


Frames  from  "Make  Striped  Bass  a 
Game    Fish,"    a    conservation    film 


143 


THE   FIRST  CALL 


THE  first  call  from  our  government  to  personal 
'  filmers  and  still  photographers  is  printed  elsewhere 
in  this  number  of  Movie  Makers.  The  Amateur 
Cinema  League  has  been  directly  authorized  to  effect 
the  assembly  of  information  from  cinematographers 
and  photographers  about  the  films  and  still  pictures 
that  they  have  made  outside  the  United  States. 

If  any  of  us  have  wondered  what  the  place  of  film- 
ing and  photography  might  be  in  these  days  when 
business  as  usual,  pleasure  as  usual  and  life  as  usual 
face  sharp  curtailment,  we  can  take  heart.  Our  gov- 
ernment recognizes  our  hobby  as  a  national  weapon, 
and  it  calls  upon  us  to  use  that  weapon  intelligently 
and  actively,  under  its  direction,  to  win  the  war. 

The  first  call  is  a  mobilization  of  our  films  and 
photographs.  The  footage  and  the  photographs  which 
may  have  been  offered  for  the  entertainment  of  our 
friends  so  often  that  we  have  nearly  concluded  that 
they  should  be  shelved  now  become  first  line  soldiers 
of  information.  These  soldiers  will  serve,  without 
regard  to  their  cinematographic  or  photographic  qual- 
ity. What  they  record,  rather  than  how  well  it  was 
recorded,  is  the  essential  point  of  interest. 

There  will  be  more  calls  upon  movie  makers.  The 
Amateur  Cinema  League  is  now  working  out  the  de- 
tails of  other  tasks  that  the  United  States  will  set  for 
personal    filmers    and    projectionists.    Our    kind    of 


movies  have  an  important  place  in  the  war.  The  fact 
that  the  Amateur  Cinema  League  has,  for  sixteen 
years,  served  the  filmers  of  the  world  practically, 
effectively  and  ethically  has  won  for  it,  in  the  present 
national  crisis,  the  confidence  of  the  officials  who 
direct  our  war  effort.  We  are  non  commercial  and 
public  spirited,  and,  therefore,  we  are  well  suited  to 
undertake  the  mobilization  of  volunteer  effort  in  the 
field  of  filming. 

Of  course,  you  are  busy.  Everybody  is  busy  today, 
particularly  the  men  and  women  who  film,  because 
they  are  the  leaders  in  their  communities.  But,  just 
as  you  have  mobilized  your  business  and  your  personal 
life  for  war  work,  you  are  now  asked  to  mobilize 
your  hobby.  The  footage  you  have  of  places  out- 
side the  United  States  enables  you  to  make  a  very 
direct  contribution  to  the  nation.  You  are  asked  to 
make  this  task  as  definite  a  part  of  your  war  effort 
as  that  which  you  are  making  in  your  business  or  in 
your  community  war  service. 

This  war  is  not  somewhere  else,  nor  sometime  else, 
nor  does  it  affect  somebody  else.  It  is  here  and  now 
and  we.  A  nation  passionately  at  work  can  win  the 
war.  Your  hobby  is  a  weapon.  Your  footage  and  your 
pictures  are  called  to  volunteer.  The  Amateur  Cinema 
League  knows  that  you  will  respond  to  this  first  call. 
It  knows  that  you  will  respond  to  other  calls.  Let's  go! 


The  AMATEUR  CINEMA  LEAGUE,  Inc. 

whose  voice  is  Movie  Makers,  is  the  international  or- 
ganization of  movie  amateurs,  founded  in  1926  and 
now  serving  filmers  in  many  countries.  The  League's 
consulting  services  advise  amateurs  on  plan  and  execu- 
tion of  their  films,  both  as  to  cinematographic  tech- 
nique and  continuity.  It  serves  amateur  motion  picture 


clubs  in  organization,  conduct  and  program  and  pro- 
vides for  them  a  film  exchange.  It  issues  booklets.  It 
maintains  various  special  services  for  members.  The 
League  completely  owns  and  operates  Movie  Makers. 
The  directors  listed  below  are  a  sufficient  warrant  of 
the  high  type  of  our  association.  Your  membership 
is  invited.  Five  dollars  a  year. 


Hiram    Percy    Maxim,    Founder 

DIRECTORS    OF    THE     LEAGUE 


$$&M 


STEPHEN  F.  VOORHEES,  President 

JOHN  V.  HANSEN,   Vice  President 

ETHELBERT    WARFIELD,     Treasurer 

C.    R.    DOOLEY 

MRS.    L.    S.   GALVIN 

H.  EARL  HOOVER   . 

HAROLD   E.    B.   SPEIGHT 

FLOYD    L.    VANDERPOEL 

T.  A.  WILLARD 

ROY   W.   WINTON,   Managing  Director 

Address  all   Inquiries  to 

AMATEUR  CINEMA  LEAGUE,  INC. 

420  LEXINGTON  AVE..  NEW  YORK  CITY,  U.S.A. 

Amateur  Cinema   League  offices  are  open  from 
9:00  A.M.  to  5:00  P.M.,  Mondays  through  Fridays 


.    New  York  City 

Washington,  D.  C. 

New  York  City 

New  York  City 

Lima,   Ohio 

Chicago,  111. 

Ithaca,  N.  Y. 

Litohfield,  Conn. 

Beverly  Hills,  Calif. 

.    New  York  City 


Photographs  by  Russell  T.  Ervin,  jr. 


•  Sledge  dogs  or  bird  dogs — the  whole  canine  family  is  a 
top  notch  movie  subject,  as  Grantland  Rice  Sportlights 
has  discovered. 


145 


9ti 


a 


But  it's  worth  filming 
asserts  movie  veteran 


yAKE!  cries  the  driver,  and  seven  lean  wolves  break 
against  leather  with  savage  frenzy  and  a  chorus  of 
murderous  yells.  However  demonic  the  demonstration,  it 
is  still  sweet  music  to  the  dog  muster's  ears,  for  he  is 
going  places  and  going  fast — while  you  remain  behind, 
frozen  into  complete  inactivity,  with  a  seventy  five  pound 
camera  anchoring  you  to  an  ankle  deep  but  picturesque 
setting. 

Well,  in  case  you  have  not  guessed  it,  I  am  a  sports 
reel  cameraman,  with  a  doggone  big  problem  to  solve. 
How  to  film  a  New  Hampshire  sledge  dog  race?  The  dogs, 
usually  Siberian  Huskies,  with  seven  to  a  team,  are  driven 
over  mountainous  old  logging  trails — no  cars,  wagons  or 
other  vehicles  are  allowed  on  the  twenty  mile  course. 

Well,  a  smart  man  knows  when  he  is  licked,  so  you 
pack  up  and  shut  up,  for  the  racing  committee  has  prob- 
lems of  its  own. 

Next  week,  they  are  racing  sixty  miles  away,  over  near 
Chichorra  Mountain  and  Chichorra  Lake.  So  you  drive 
over  the  day  before  the  race,  locate  a  real  native  guide 
and  run  over  the  entire  prospective  course  and  map  out 
each  intersection  and  figure  out  how  you  can  leave  the 

•    Russell  T.   Ervin,   jr.,   on   location   in    New    England,    during 
past   winter,    making   shots    of   sledge   dog    races. 


RUSSELL    T.    ERVIN,    jr.,    Associate  Producer,  Grantland  Rice  Sporflighfs 

trail  and  return  at  another  spot  further  on.  Sometimes  you 
use  the  back  lanes  of  farms — or,  better  yet,  a  ski  trail. 
The  race  will  last  for  two  hours  or  better,  but  your  esti- 
mation of  time  for  shooting  and  movement  has  got  to  be 
pretty  accurate. 

So  the  big  race  gets  off  again,  and  this  time  you  are 
clicking  them  off  as  easily  as  if  the  big  glass  eyed  box 
was  a  hurdy  gurdy.  \ou  are  warm  and  hustling;  you 
don't  begin  to  feel  the  mountain  ozone  as  it  erases  the 
thin  red  column  right  off  the  thermometer.  No,  you  don't 
mind  being  wrapped  to  the  ears  in  fleece  lined  gabardine, 
but  your  camera  does  mind  the  temperature. 

The  old  box  develops  wheezes,  and  the  takeup  pulley 
chugs  down  almost  to  a  stop.  Well,  you  should  have  taken 
care  of  that  problem  the  night  before,  but  a  few  quick 
shots  of  kerosene  soon  bring  the  speed  back  to  ninety  feet 
a  minute  (35mm.  sound  film  speed) ,  and  you  hope  the 
roll  isn't  taking  a  coal  oil  shower. 

Yes,  you  grew  smart  after  that  last  refrigerator  job, 
when  the  velvet  covered  magazine  apertures  worked  up  a 
pile  of  static  electricity,  which  painted  forked  lightning 
nicely  throughout  the  whole  footage.  You  even  had  the 
corduroy  inside  lining  of  the  magazine  removed,  and  you 
wondered  why  the  manufacturer  put  the  stuff  in  there  any- 
way— that  is,  you  wondered  until  you  were  shooting  mar- 
lin  pictures  off  Cat  Cay  in  July,  and  the  film  emulsion 
turned  to  jam  as  the  120  degree  sun  burned  itself  right 
through  the  unpadded  magazine. 

Suppose  that  we  leave  this  cold  canine  camera  lesson 
and  try  our  hand  with  some  fair  weather  dogs.  You  can't 
tell  anybody  much  about  sledge  dog  filming  anyway.  Few 
try  it,  and  even  those  few  are  not  going  to  make  a  hobby 
of  it  for  long. 

Let  us  talk  about  bird  dogs — those  big,  lovable  pointers 
and  setters  whose  marbleized  points  and  dead  reckoning 
retrieves  make  even  your  worst  critic  say,  "Ah!"  If  the 
dogs  are  half  as  good  as  they  look,  and  if  there  is  even 
one  covey  of  bobwhites  around,  it  will  be  a  "cinch,"  you 
think.  You  divide  the  equipment  like  Gaul,  into  three  parts 
— camera,  tripod  and  battery — and  make  the  hunters  do 
a  little  toting.  You  walk  six  miles,  the  hunters  bag  a  few 
nice  ones  and  you  end  up  the  day  with  the  worst  batch 
of  unleveled.  cold  rolled  snapshots  that  you  have  ever 
exposed  to  light.  The  hunters  are  irritated  because  the 
heavy  equipment  tired  them  out  and  killed  their  fun. 

That  night  you  arrange  with      [Continued  on  page  165] 


next  tsUtL---!2ueJtec 


FO  the  hundreds  of  movie  makers  who  are  wondering 
■  "where  next?"  in  their  perennial  search  for  fresh 
motion  picture  material,  the  Province  of  Quebec,  land 
of  the  habitant,  is  made  to  order.  Rich  in  scenic  variety 
and  in  human  interest,  this  ancient  Province  casts  its 
spell  on  native  son  and  visitor  alike.  Your  reporter,  who 
belongs  to  the  former  group,  has  fond  memories  of  the 
idyllic  weeks  that  he  spent  filming  The  Saga  of  the  St. 
Lawrence,  later  distinguished  by  this  magazine  with  an 
Honorable  Mention  award.  His  camera  brought  back  a 
record  of  spinning  wheels  and  outdoor  bake  ovens,  of 
tall  church  spires  and  crosses  by  the  roadside,  of  ox 
drawn  carts  and  brown,  weathered  old  windmills.  And 
he  himself  came  home  with  a  deepened  admiration  for 
the  simple,  devout,  hospitable  folk  who  till  the  same  fields 


Filmer's  paradise  offers 
rich  cine  fare  to  guests 

WALTER     P.     DOWNS,     ACL 

their  forefathers  worked  three  centuries  ago. 

A  word  on  how  to  get  there.  Since  New  York  City  is 
headquarters  of  the  Amateur  Cinema  League,  let  us  start 
from  there.  Just  overnight  by  train,  or  a  day's  drive  over 
splendid  highways,  lies  Montreal,  Canada's  metropolis 
and  the  largest  inland  seaport  in  the  world.  If  you  prefer 
flying,  less  than  three  hours  along  the  Hudson  and  over 
the  Adirondacks  brings  you  down  on  St.  Hubert  Airport, 
across  the  river  from  Montreal.  Don't,  in  these  war  days, 
attempt  any  shooting  from  the  airplane  except  with  ex- 
plicit permission  from  the  pilot. 

The  city  itself  is  definitely  Gallic,  in  language  and  in 
spirit;  so,  to  keep  your  audience  guessing  for  a  minute 
before  you  "plant"  your  starting  location,  you  might 
open  with  a  series  of  short  scenes  of  bilingual  traffic  signs. 
A  closeup  of  an  automobile  wheel  might  then  dissolve 
to  a  shot  of  a  carriage  wheel,  which  then  could  dissolve 
to  a  French  and  English  sign — Cars  Not  Allowed  on  This 
Mountain  Park. 

This  introduction  will  make  an  interesting  lead  to  a 

sequence  of  views  from  atop 
ai  Associates  Mount    Royal,    which    is    a 

"must."     Here,     one     looks 

down    upon    the    city    as   it 

stretches     from     the    moun- 

[Continued  on  page  167] 

•  Scenes  that  you 
can  film  in  the 
Province  of  Quebec. 


Co"* 


tesV 


c°utt 


146 


•  Shoot  the  tree  shaded 
streets  of  homes  as  well 
as  the  industries  and 
business  sections  of 
your  town. 


R.  B.  Hoit  from  Nesmith  and  Associates 


HOME  TOWN  FILMS 


Movie  making  projects  that  fit  into  today's  conditions 


FOR  a  few  moments,  let  us  ignore  Horace  Greeley's 
famous  advice,  "Go  West,  young  man,  go  West,"  and 
paraphrase  rather  an  equally  well  known  expression,  to 
make  it  read,  "Filming  begins  at  home."  This  is  particu- 
larly good  advice  today,  when  cruise  ships  are  good 
dreams  of  the  past  and  new  automobile  tires  are  bad 
dreams  of  the  present. 

One  of  the  greatest  inducements  held  forth  by  the  civic 
type  of  film  is  the  fact  that  the  producer  may  nibble  at 
it,  bite  into  it  or  devour  it  completely.  In  other  words,  a 
simple  hundred  foot  roll  could  suffice  to  give  a  pleasant 
survey  of  the  filmer's  home  town  or  city,  yet  a  2000  foot 
production  might  not  exhaust  its  possibilities.  This  lee- 
way, both  in  film  to  be  exposed  and  the  time  required  to 
complete  it,  makes  the  civic  movie  one  of  the  most  chal- 
lenging and  interesting  jobs  that  you  can  tackle. 

There  can  be  no  question  as  to  the  public  and  private 
value  of  such  a  film,  as  is  indicated  by  the  whole  hearted 
cooperation  being  rendered  by  Chambers  of  Commerce 
to  those  interested  in  such  filming.  Aside  from  the  purely 
personal  pleasure  with  which  the  maker  will  view  his 
work,  there  is  an  almost  unlimited  range  of  advertising 
uses  to  which  it  may  be  adapted,  if  the  picture  is  pro- 
duced with  possible  commercial  sales  in  view. 

Real  estate  and  industrial  organizations  will  find  it 
advantageous  to  use  such  a  film  in  attracting  persons  from 
near  by  localities,  to  change  their  places  of  residence. 
The  local  Chamber  of  Commerce  should  be  especially 
interested  in  a  film  which  it  could  use,  not  only  to  in- 


KENNETH    F.    SPACE,    ACL 

terest  new  industries  and  to  persuade  established  con- 
cerns to  open  branch  offices  or  factories,  but  also  as  the 
finest  kind  of  publicity  to  accompany  members  on  their 
tours.  One  reel  of  film  will  give  a  much  more  complete 
picture  of  the  local  town  than  will  all  the  speeches  laid 
end  to  end. 

Such  a  film  may  be  produced  either  by  an  individual 
or  by  a  group,  or,  better  still,  if  the  town  boasts  a  movie 
club,  by  that  well  established  unit.  It  might  be  mentioned 
here  that  most  civic  films  to  date  have  been  produced  by 
the  local  cinema  societies.  If  the  film  is  made  by  an  in- 
dividual, its  length  would  probably  be  more  or  less  lim- 
ited by  film  cost,  whereas,  in  the  case  of  a  club  produc- 
tion, this  expense  could  be  shared;  in  addition,  the  club 
would  receive  much  free  newspaper  publicity  and  recog- 
nition for  its  act  of  public  service. 

Another  advantage  of  club  production  is  found  in  the 
division  of  filming  responsibility.  Most  clubs  divide  the 
city  or  its  sections  of  special  interest  into  assignments, 
one  of  which  is  given  to  each  member.  Various  shooting 
problems  are  discussed  at  meetings,  and  notes  can  be 
compared  until,  within  a  certain  time  limit,  all  film  is 
turned  into  the  club.  At  a  later  meeting  or  meetings,  these 
parts  are  grouped  together  and  edited  by  the  club  as  a 
whole.  Title  discussions  follow  until  the  film  is  com- 
pleted. This  arrangement  allows  for  a  more  elaborate 
production  in  a  comparatively  short  length  of  time;  in 
addition,  it  provides  splendid  all  around  training  in 
filming    for    the    entire    group.       [Continued  on  page  170] 


147 


148 


CAMERA  VIEWPOINTS 


Photographs  by  C.  J.  Carbonaro,  ACL 


rlace  the  camera  level,  or  tilt  it  only 
slightly  upward  or  downward,  for  most 
action  shots.  Here  the  movie  maker  has 
tilted  the  camera  a  trifle  upward,  to  get  the 
best  possible  view  of  the  subject  and  the 
action  of  her  arm.  The  result  is  a  normal 
view  and  an  effective  record  of  action. 


A  complicated  and  "busy"  background 
usually  may  be  eliminated  by  the  selection 
of  the  best  camera  viewpoint.  If  this  movie 
maker  had  used  a  normal  eye  level  view, 
he  would  have  included  the  angles  of  the 
building  and  its  door  and  roof  (not  to  men- 
tion the  porch  light),  to  confuse  the  scene. 
An  upward  shot  gave  the  sky  background. 


Keep  on  a  level  with  your  subject  unless 
there  is  some  particular  reason  for  a  dif- 
ferent viewpoint.  The  best  scenes  of  chil- 
dren and  of  pets  are  made  with  the  camera 
placed  at  approximately  the  height  of  the 
subject. 


-    1 

?a      I  II 


149 


Camera  viewpoints  are  changed,  to  suit 
the  purpose  of  the  scene.  If  you  are  going 
to  show  a  child  from  its  mother's  point  of 
view,  you  would  use  a  downward  shot,  and, 
if  you  are  to  show  the  mother  from  the 
child's  point  of  view,  you  would  use  an 
upward  angle.  The  best  advice  is  to  think 
first  of  what  you  want  to  feature  and  then 
to  select  the  camera  viewpoint. 


Here  the  scene  has  shifted,  to  present  the 
mother  from  the  child's  viewpoint.  The 
scene  that  usually  would  follow  this  shot 
would  be  one  taken  from  a  normal  angle 
to  include  both  mother  and  child,  and  this 
shot  would  present  the  conclusion  of  the 
incident  or  a  continuation  that  would  de- 
velop it  further. 


■  =J 


H  ollywood's  "two  shot"  is  shown  here.  This  method  of 
including  the  back  of  the  head  of  one  character  and  of 
emphasizing  the  face  of  a  second  subject  at  the  same  time 
is  a  favorite  means  of  presenting  dialog. 


150 


URGENT 


WHERE  HAVE  YOU  FILMED? 


At  the  request  of  authorities  of  the  United  States  gov- 
ernment, the  Amateur  Cinema  League  is  engaged  in 
locating  personally  made  motion  picture  footage,  still 
photographs  and  transparencies  of  areas  outside  the  United 
States.  It  is  desirable  and  necessary  to  broaden  the  base  of 
this  activity  by  building  up  an  index  of  films,  photographs 
and  transparencies  in  the  hands  of  persons  who  have 
traveled  OUTSIDE  THE  UNITED  STATES  and  who 
have  filmed  and  photographed  in  the  course  of  their  travel. 

If  you  have  filmed  or  photographed  OUTSIDE  THE 
UNITED  STATES,  you  are  requested  to  answer  the 
questionnaire  on  the  opposite  page,  as  a  patriotic  duty. 
Questions  that  will  naturally  come  to  your  mind  are  made 
clear  in  the  form  itself.  Information  is  requested  from  all 
filmers  and  still  photographers,  whether  they  are  members 
of  the  Amateur  Cinema  League  or  not.  Report  all  footage 
on  any  country,  if  the  footage  exceeds  five  feet.  Report  all 
photographs  and  transparencies,  whatever  their  size.  Qual- 
ity is  unimportant;  subject  matter  is  paramount.  It  is  par- 
ticularly requested  that  you  act  promptly. 


w~ 


ROY  W.  WINTON 

Managing  Director 

Amateur  Cinema  League,  Inc. 


151 


URGENT 


IF  YOU  HAVE  FILMED  OR  PHOTOGRAPHED 


OUTSIDE  THE   UNITED  STATES 


ANSWER  THE  QUESTIONS  BELOW 


AS  A  PATRIOTIC  DUTY 


(Please  print) 
Last  name — 


(Cut  here) 


-;  first  name- 


-;  Street  and  Number- 


City- 


-S+ate- 


-MOTION  PICTURES- 


Countries 
Visited 


Length    of        Width  of  film 
Date  of  footage        (35mm.;    16mm.; 

"is,t  of  country      9l/2mm-:    8mm.) 


Black  and 

white    or 

color 


STILL  PHOTOGRAPHS , 

Have  you  prints 


Number  Size  of 

you   have       negatives 


from   these 
negatives? 


(If  space   is   insufficient,   please   prepare   separate   sheet.) 


, TRANSPARENCIES  . v 

Color  or 
Number  Size        b|ack  and 

you   have  wn;+e 


1.  //  requested,  will  you  send  the  footage  and/or  the  still  photographs 
to  the  United  States  government  for  examination,  with  its  assurance 
that  they  will  be  returned  to  you  intact,  at  its  expense? 

2.  //  requested,  will  you  give  the  United  States  government  permis- 
sion to  make,  without  cost  to  you,  duplicates  of  footage  or  still  photo- 
graphs that  our  government  may  need,  with  the  assurance  that  the 
duplicates  will  be  used  by  the  government  only? 

3.  If  you  have  shown  any  of  these  films  or  still  photographs  to  any 

Mail  to 

AMATEUR  CINEMA  LEAGUE,  Inc. 

420  Lexington  Avenue 

New  York,  N.  Y. 


government  agencies,  indicate  which  ones  and  when. 


4.  Are  vou  a  citizen  of  the  United  States  of  America?. 


5.  If  you  are  not  a  citizen,  of  what  country  are  you  a  citizen  or 

subject? 


(Signature) 


Illustrations   by   Visual    Facts 


153 


LETTERING 

FOR  YOUR  TITLES 


VICTOR     ANCONA,     ACL 

DO  YOU  want  titles  that  reflect  your 
personality?  Do  you  want  titles  that 
contain  a  warm,  human,  individual 
touch?  Then  get  ready  for  a  new  ex- 
perience. You  are  going  to  hand  letter 
your  titles! 

Hand  lettering  is  simple.  Hand  letter- 
ing is  flexible.  You  can  control  the  size 
of  the  letters;  you  can  make  them  thick 
or  thin,  light  or  dark.  You  can  control 
the  spacing  of  the  lines  and  of  the  indi- 
vidual characters.  It  is  easy  and  it  re- 
quires only  a  few  inexpensive  tools — a 
p°n  holder,  several  sizes  and  styles  of 
lettering  pens  (you  can  start  with  one 
size  and  style),  a  bottle  of  India  ink, 
drawing  paper  and  you. 

"But  I'm  not  a  lettering  artist!"  you 
will  protest. 

That  may  be  true;  but,  with  a  few 
simple  rules  to  follow,  you  will  be  ready 
to  turn  out  well  lettered,  easily  read 
titles  that  will  do  justice  to  your  best 
movie  shots. 

Movie  titles  should  be  read.  This 
statement  may  sound  obvious,  but  few 
movie  makers  who  letter  their  own  titles 
seem  to  bear  this  in  mind.  Yes,  titles 
should  be  read  —  easily  and  without 
effort.  Keep  this  rule  in  mind  —  your 
lettering  must  be  simple.  Don't  use 
"arty"  letters,  such  as  those  shown  in 
the  horrible  examples  at  the  bottom  of 
this  page. 

The  art  is  to  conceal  the  art.  If  you 
were  conscious  of  the  individual  letters 
of  type  as  you  read  this  article,  your 
eye  would  rest  on  the  individual  char- 
acters and  would  cause  your  mind  to 
stray  from  the  main  thought.  A  well 
lettered  title  does  not  call  attention  to 
itself  but,  rather,  to  the  message  to  be 
read.  In  choosing  a  letter  form,  it  is  best 
to  follow  the  pattern  laid  down  by  world 
famous  typographers. 

Following  are  several  alphabets  for 
you  to  choose  from. 


ABCDEFGHIJ|KLM 
NO    PQRSTUVWXYZ 

ABCDEFGHIJKLM 
NOPQRSTUVWXYZ 

ABCDEFGHIJKLM 
NOPQRSTUVWXYZ 

ABCDEFGHIJKLM 
NOPQRSTUVWXYZ 

They  were  selected  for  their  simplicity 
and  inherent  good  design.  It  would  be 
well,  therefore,  to  follow  them  closely. 
For  special  main  titles,  in  which  the 
message  is  concentrated  in  a  few  words, 
other  styles  may  be  used.  You  will  find 
additional  styles  by  glancing  through 
numbers  of  Movie  Makers  or  other 
national  magazines. 

Let  us  choose  Lydian,  as  an  example, 
and  use  LETTERING  FOR  YOUR 
TITLES,  which  heads  this  article.  Study 
the  individual  characters  of  the  type  face. 
Notice  that  some  are  wide,  others  narrow. 
Try  combining  a  few  of  the  letters  into 
words.  You  will  need  more  room  for 
the  round  characters,  such  as  0,  C,  M 
or  W,  as  compared  with  I,  T,  J  or  L. 

Train  your  eye  to  see  the  spaces  left 
between  each  letter  and  compensate  for 
them.  You  will  soon  realize  that  mark- 
ing off  equal  spaces  for  each  letter  will 
never  do.  Note  Fig.  1.  The  letters  in  the 
word  MOVIE,  in  example  A,  are  ap- 
proximately equally  spaced,  while  the 
[Continued  on  page  173] 

•  I,  2,  3  and  4.  First  sketch  the  format 
of  your  title  arrangement.  A  and  B — 
wrong  and  right  letter  spacing.  Below, 
avoid    fancy    letters    like   these. 


How  this  interesting   job 
can  be  done  by  anybody 


L 
E 


*     Tims 

IN' 


2. 


VC)\\\U  THEg 


V 


l  hti  ESIH5 


TEES 


w 


Y 


155 


Simple  film  plan  that  is 
basis  for  Easter  movie 


THE  Easter  Parade,  like  charity,  should  begin  at  home. 
Whether  your  parade  ground  is  Fifth  Avenue  or  Main 
Street,  don't  be  content  with  just  a  few  random  shots  of 
fine  feathers  and  furbelows.  Try  getting  your  family  into 
the  film  as  well,  for,  after  all,  the  ceremonies  of  Easter 
Sunday,  both  secular  and  sectarian,  are  essentially  a 
family  matter.  We  present  below  a  suggested  scenario  for 
such  shooting,  based  on  our  own  experiences  of  yester- 
year. 
Let  us  call  it  Easter  at  Home. 
Title.  The  Easter  Hunt  gets  under  way. 

1.  Medium  shot.  Interior  of  a  home  living  room.  Two 
little  lads  in  pajamas  walk  into  the  scene  from  behind 
the  camera,  hunting  for  Easter  baskets. 

2.  Medium  shot.  The  children  walk  toward  the  cam- 
era, reaching  the  center  of  the  room.  After  looking  around 
for  a  short  while,  both  start  off  in  opposite  directions. 

3.  Semi  closeup.  One  child  is  kneeling,  to  look  under 
a  heavily  upholstered  chair. 

4.  Semi  closeup.  The  other  child  is  attempting  to  kneel 
on  a  chair;  he  looks  in  back  of  a  large  vase  on  a  book- 
case. 

5.  Closeup.  The  older  scratches  the  back  of  his  head 
and,  in  Dick  Tracy  fashion,  scans  the  room. 

6.  Semi  closeup.  The  two  youngsters  stop  searching 
and  seem  to  argue  with  each  other. 

7.  Closeup.  The  younger  child  speaks: 
Title.  "No,  Daddy  said  this  was  the  room." 

8.  Semi  closeup.  The  older  of  the  two  begins  to  ex- 
plore behind  the  window  draperies. 

9.  Medium  shot.  The  younger  child  comes  rushing 
across  the  room  to  his  older  brother. 

Title.  "There  is  something  under  that  couch — way,  way 
back!" 

10.  Semi  closeup.  Two  little  pairs  of  legs  are  stretched 
out  on  the  floor.  The  boys'  heads  are  under  the  couch. 

11.  Semi  closeup.  A  different  viewpoint,  as  the  boys 
wriggle  out.  One  of  them  has  a  sofa  pillow  which  is  all 
that  they  found.  Both  are  disgusted. 

12.  Medium  shot.  The  smaller  lad  jumps  up  and  starts 
to  walk  away. 

13.  Semi  closeup.  The  older  boy  scrambles  to  his 
feet  and  hurries  after  the  younger. 

14.  Medium  shot.  Both  children  reach  the  side  of  the 
radio  or  some  other  large  piece  of  furniture  in  the  room. 

15.  Semi  closeup.  First  one  boy,  then  the  other,  points 
excitedly  toward  the  hiding  place. 

16.  Closeup.  Easter  baskets,  bunnies  and  other  Easter 
toys. 

17.  Medium  shot.  Both  children  take  the  baskets  and 
other  toys  from  their  hiding  place  and  carry  them  to  the 
middle  of  the  room. 


Photograph  by  Harold  M.  Lambert  from  Frederic  Lewis, 
lettered  by  Stahl  Editing  and  Titling  Service- 


GABRIEL     V.     PASCARELLA,     ACL 

18.  Closeup.  The  older  boy's  hands  rummage  through 
one  of  the  baskets  hurriedly. 

19.  Closeup.  The  younger  boy  happily  holds  a  plush 
bunny  in  one  hand  and  a  large  sugar  egg  in  the  other. 

20.  Medium  shot.  Both  children  are  in  the  foreground, 
seated  on  the  floor,  with  baskets  and  bunnies  around 
them.  Mother  appears  at  the  door  of  the  room. 

21.  Semi  closeup.  Mother  speaks  and  motions  to  the 
children  to  come  to  her. 

Title.  "Hurry!  Time  to  be  getting  ready  for  church." 

22.  Medium  shot.  Both  children  scramble  to  their  feet 
and  walk  away  from  the  camera  toward  Mother. 

23.  Semi  closeup.  Both  children  are  in  the  bathroom, 
washing. 

24.  Semi  closeup.  Mother  walks  up  to  the  children. 

25.  Closeup.  The  children  wash,  and  Mother  super- 
vises. She  says: 

Title.  "Dont  forget  behind  the  neck  and  ears." 

26.  Closeup.  One  boy  scrubs  his  neck. 

27.  Closeup.  The  other  boy  scrubs  his  ears.  Dissolve 
or  cut  to: 

28.  Medium  shot.  Both  children,  completely  dressed, 
admire  each  other. 

29.  Medium  shot.  Father  and  Mother  join  the  boys. 

30.  Semi  closeup.  Mother  and  Dad,  smiling. 

31.  Closeup.  Mother  shows  her  new  bonnet  to  Father. 

32.  Medium  shot.  The  family  leaves  the  house.  They 
all  walk  to  the  car,  which  is  parked  at  the  curb. 

33.  Semi  closeup.  The  family  enters  the  car,  after 
which  it  drives  away. 

34.  Long  shot.  The  automobile  approaches  the  curb 
in  front  of  the  church.  In  the  foreground,  other  church 
goers  arrive.  (Here,  you  can  plan  to  have  your  relatives 
and  neighbors  take  part  in  a  few  scenes.  They  can  be 
shown  charting  and  greeting  one  another  as  your  family 
emerges  from  the  car.) 

35.  Medium  shot.  As  your  family  walks  away  from 
the  car,  have  some  of  your  friends  come  up  to  them  and 
exchange  salutations.  (This  shot  will  give  you  an  oppor- 
tunity to  film  various  members  in  their  Easter  finery. 
Here,  you  can  take  as  many  shots  as  you  like  of  your 
friends  and  relatives  arriving  at  church.  They  will  be 
thrilled  to  see  themselves  featured  in  your  Easter 
Parade.) 

36.  Medium  shot.  Mother  and  both  children  enter  the 
church  with  other  parishioners.  Fade  out. 

Title:  Amen!  Services  are  over. 

37.  Medium  shot.  The  family  and  friends  leave  the 
church.  (Here,  you  may  also  try  to  include  some  more 
shots  of  your  friends.  With  a  little  persuasion,  a  few  of 
the  ladies  might  condescend  to  show  some  of  their  Easter 
outfits  for  your  camera.  [Continued  on  page  174] 


Sndoo^i... 


KODACHROME  (Daylight)   8-mm.   and    16-mm.      The 

full-color  outdoor  film  that's  as  easy  to  use  as  black-and- 
white.  May  be  used  indoors  with  regular  Photofloods, 
too,  when  exposed  through  a  Photoflood  Filter — or  with- 
out a  filter  when  blue  Daylight  Photofloods  provide  the 
illumination.  8-mm.  rolls,  $3.65;  magazines,  $4.  16-mm. 
100-foot  rolls,  $8.55;  magazines,  $5. 

KODACHROME  (Type  A)  8-mm.  and  16-mm.  The  full- 
color  film  that's  color-balanced  especially  for  indoor 
filming  under  regular  Photofloods  without  worry  about 
filters.  Can  be  used  as  an  outdoor  color  film,  with  regular 
outdoor  Kodachrome  exposure,  and  with  typically  fine 
Kodachrome  results,  when  exposed  through  a  Koda- 
chrome Filter  for  Daylight.  8-mm.  rolls,  $3.65;  magazines, 
$4.  16-mm.  100-foot  rolls,  $8.55;  magazines,  $5. 

CINE-KODAK  SUPER-X  "PAN"  8-mm.  and  16-mm.  A 

fast  and  fully  panchromatic  black-and-white  film  with 
marvelous  brilliance,  clarity,  and  fine  grain  for  general 
outdoor  filming.   Fast  enough,   too,   for  making  indoor 


movies  by  artificial  light.  8-mm.  rolls,  $2.40;  magazines, 
$2.70;  16-mm.  100-foot  rolls,  $6.40;  magazines,  $3.75. 

CINE-KODAK  SUPER-XX   "PAN,"   16-mm.   only.    The 

super-fast  panchromatic  film  that  gets  the  movies  other 
films  can't  reach  indoors,  outdoors  at  night,  and  in 
weak  daylight.  So  fast,  in  fact,  that  it  shouldn't  be  used 
outdoors  in  sunlight,  even  at  //16,  unless  slowed  down 
by  a  Neutral  Density  Filter.  16-mm.  100-foot  rolls,  $7.20; 
magazines,  $4.30. 

CINE-KODAK  EIGHT  "PAN."  The  low-cost  "Eight"  Pan- 
chromatic Film  that  made  8-mm.  movies  first  possible, 
then  popular.  Fast  enough  for  indoor  shots  under  gen- 
erous Photoflood  illumination.  8-mm.  rolls,  $2.15. 

CINE-KODAK  SAFETY  "PAN,"  16-mm.  only.  The  low- 
cost  16-mm.  Panchromatic  Film  with  remarkable  bril- 
liance and  detail.  Supplied  in  100-foot  rolls,  only — $4.80. 

Ail  prices  include  processing  and  are 
subject    to    change    without    notice. 


there  are  memorable  movies  to  be  made . . .  and  here 
are  the  first-choice  films  with  which   to  make 


With  every  Cine-Kodak  Film,  its  own  expo- 
sure card.  You  merely  slip  the  card  packed 
with  each  roll  of  Cine-Kodak  Film  into  the 
Universal  Guide  attached  to  your  camera — or 
into  the  Pocket  Model  of  the  Guide  —  and 
there  are  your  exposure  instructions  for 
indoor    and    outdoor   movie    making. 


EASTMAN   KODAK  COMPANY,   ROCHESTER,  N.  Y. 


158 


George  Valentine  Enell  and  Associates 


•  A  few  of  the  night  clubs  and 
entertainment  spots  where  you 
can  use  your  movie  camera. 
Top,  left,  Ice  Show  in  Terrace 
Room  of  Hotel  New  Yorker; 
right,  Vincent  Lopez  at  Hotel 
Taft.  Bottom,  left,  Cafe  Soci- 
ety's uptown  show;  right,  re- 
hearsal  at   Martinique. 


Libsohn-Ehrenberg 


A  CINE   CAMERA  ON  THE  UNIGHT  OFF 


// 


New  York  offers  fun  hunters  a  filming  field 


w 


ITH  a  fast  lens  and  fast  film,  you  can  make  movies 
of  the  stage  shows  of  night  clubs,  the  antics  of 
orchestras  and  singers  and  the  other  entertainment  offered 
by  the  "hot  spots"  of  New  York  and  other  cities.  You 
can  shoot  well  lighted  events  with  Type  A  Kodachrome 
and,  with  ultra  fast  black  and  white  film,  you  can  catch 
almost  anything  that  you  are  likely  to  want.  There  is 
nothing  to  prevent  you  from  taking  your  movie  camera 
to  a  night  club — that  is,  if  the  night  club  will  permit  it. 
Some  do  and  some  don't. 

At  the  insistence  of  numerous  filmers  who  don't  want 
to  leave  their  cameras  at  home,  when  they  set  out  for  a 
night's  frolic  on  the  town,  we  have  sounded  out  the  popu- 
lar night  clubs  in  New  York  on  the  subject  of  taking 
movies  in  their  gilded  interiors.  Hearkening  back  to 
earlier  days,  your  correspondent  has  approached  (figu- 
ratively) some  thirty  boites  de  nuit  in  this  city  of  "hot 
spots,"  occasionally  to  be  snarled  at  and  often  to  be  wel- 
comed with  gusto. 

Herewith  we  present  our  findings,  with  the  hope  that 
they  will  be  of  assistance  to  nocturnally  minded  movie 
makers.  The  list  that  follows  is  in  a  somewhat  geographi- 
cal order,  although  it  would  be  considered  foolhardy  to 


GORDON     L.     HOUGH 

visit  all  the  places  in  a  single  night. 

It  must  be  noted  that  the  permissions  to  film  which  we 
have  elicited  from  many  places  apply  specifically  to  film- 
ing with  a  movie  camera.  The  excesses  of  the  candid 
camera  fiends  have  made  them  unwelcome  in  many  night 
clubs,  and  a  movie  maker  can  take  his  well  behaved 
camera  to  many  spots  where  the  "shutter  bug"  with  the 
flash  bulb  is  banned. 

Beyond  the  George  Washington  Bridge  is  Ben  Marden's 
Riviera,  a  fabulous  spot  of  glass  brick  and  gay  colors. 
This  year,  for  the  first  time,  they  are  keeping  open  during 
the  winter,  but  their  large  Summer  Room,  which  com- 
mands a  superb  view  of  the  Hudson,  will  not  open  until 
May.  Meanwhile,  cine  filmers  are  welcome  in  the  Winter 
Room,  small  or  "intimate"  in  night  club  phraseology. 

Returning  to  Manhattan  Island  and  plunging  further 
south  to  the  end  of  Central  Park,  our  light  hearted  group 
reaches  the  Essex  House's  Casino-on-the-Park.  This  room, 
featuring  Evalyn  Turner's  orchestra,  gives  an  uncondi- 
tional "OK"  to  movie  making.  Two  blocks  south,  on  57th 
Street,  is  La  Martinique  with  a  colorful,  new  show,  staged 
by  Nat  Karson,  to  test  your  cinematic  skill.  Those  in 
charge  here  will   even   let  you       [Continued  on  page  169] 


159 


AMATEUR 
CLUBS 


Schenectady  triumph 


More  than  400  members  and 
guests  of  the  Schenectady 
Photographic  Society,  ACL,  city  officials  and  members  of 
the  film's  cast  gathered  recently  in  that  city's  Nott  Terrace 
High  School  for  the  premiere  of  For  Safety's  Sake,  a  club 
traffic  safety  film  on  16mm.  Kodachrome.  The  picture  was 
widely  hailed  by  press  and  public  as  a  fine  contribution  to 
the  educational  campaign  on  urban  traffic  control  being  car- 
ried on  by  the  Bureau  of  Traffic  and  City  Planning,  under 
the  direction  of  Fred  W.  Fisch.  Harry  MacMullen,  of  the 
Cine  Group,  prepared  the  script,  with  Harley  H.  Bixler,  ACL. 
and  Cecil  M.  Figueroa,  ACL,  in  charge  of  filming  and  edit- 
ing. 

At  a  later  general  meeting  of  the  Cine  Group,  held  in  its 
regular  quarters  in  the  Y.M.C.A.,  Kenneth  F.  Space,  ACL. 
technical  consultant  of  the  League,  was  the  guest  of  honor. 
Mr.  Space  presented  a  program  of  his  own  films,  which  in- 
cluded Fluffy,  the  Kitten,  If  You  Went  To  The  Fair  and 
two  new  productions,  Big  Little  Things  and  Finny,  the  Gold- 
fish. 

Screen  Maxim  winner  in  N.  Y.  C.    HaiI>  British  Co- 
lumbia.', Maxim 

Award  winner  in  1941.  will  be  presented  for  the  first  time 
at  a  screening  that  will  be  open  to  the  public  on  the  com- 
ing Gala  Night  program  of  the  Metropolitan  Motion  Pic- 
ture Club,  in  New  York  City.  The  annual  gala  program,  of 
which  this  outstanding  film  will  be  the  feature,  will  be  pre- 
sented in  the  theatre  of  the  Master  Institute,  103rd  Street 
and  Riverside  Drive,  at  8:30  on  the  evening  of  April  24. 
Tickets,  which  must  be  secured  in  advance,  can  be  had  from 
Sidney  Moritz.  ACL.  treasurer  of  the  club,  at  160  Claremont 
Avenue,  New  York  City,  at  fifty  five  cents  each,  including 


9  i> 

L  ^H   ^Pt.kH 

/ 

f*       mm        ^^^^i^lm 

~J 

w7  ill    B*fl  1^ 

M71  Hl,  - 

Triangle  Cinema  Leagrue 
•    Filming  puppet  scene  in  H.  S.  Gould  production,  "Opened 
Before   Christmas,"    by   Triangle   Cinema    League   of  Chicago. 
Mary   Carrigan   is   operating   the    puppet. 

What  organized  groups 
are  doing  ever/where 

JAMES    W.    MOORE,    ACL 

tax.  Hail,  British  Columbia!,  described  fully  in  the  March. 
1942.  number  of  Movie  Makers,  was  produced  by  Leo  J. 
Heffernan,  ACL,  of  New  York  City. 

Philadelphia's  best  From  among  the  more  than  forty 
films  screened  at  meetings  of  the 
Philadelphia  Cinema  Club  during  1941,  members  of  the 
club  selected  by  ballot  recently  the  three  best  pictures  of 
the  year.  These  were,  in  order,  Sage  Brush  and  Saddles,  by 
Boyd  T.  Barnard.  ACL:  Glacier  National  Park,  by  Francis 
M.  Hirst.  ACL,  and  Mrs.  Hirst;  Over  Western  Trails,  by 
George  Pitman.  Honorable  mention  wras  given  by  the  club 
to  Backyard  Beauty,  by  Herbert  L.  Tindall.  jr.,  ACL;  Bar 
Harbor,  by  Walter  Gray;  Pennsylvania  Scenes,  by  William 
Chambers;  Great  Smokies,  by  Robert  Crowther,  ACL;  Fl on- 
ers, by  Murray  Booth. 

Double  in  Chicago  Completing  the  friendly  exchange 
of  programs  announced  last 
month  between  the  two  leading  Chicago  movie  clubs,  mem- 
bers of  the  Chicago  Cinema  Club.  ACL,  were  hosts  to  mem- 
bers of  the  Metro  Movie  Club,  of  River  Park,  in  the  former's 
headquarters  in  the  Civic  Opera  Building.  Metro  filming 
provided  the  program,  which  included  Banff  and  Jasper,  by 
Joseph     Ott;     Ice     Carnival,     by       [Continued  on  page  175] 


•    Members  and   guests  at  the  first  annual   banquet  of   Movie    Makers  Club   of   Kenosha.   Wise. 


?60 


•  How  a  theatrical  cameraman 
arranges  home  shot  —  lighting 
units  set  up  by  John  Arnold, 
M.G.M.  camera  chief,  to  film 
his   children. 


VU&  Cu>> 


Technical  comment  and  timely  topics  for  the  amateur 


Courtesy  Bell  &  Howell  Co. 


Teiephoto   plus  supplementary 

For  those  who  have  cameras  with  a  pro- 
vision for  visual  focusing,  the  idea  that 
supplementary  lenses  may  be  used  in 
conjunction  with  telephotos  for  extreme 
closeup  work  may  be  of  interest.  We 
have  used  the  supplementary  lens  from 
one  of  the  small  titlers,  holding  the 
auxiliary  lens  closely  in  front  of  a  two 
and  a  half  inch  teiephoto.  By  extending 
the  lens  past  the  limit  of  the  focus- 
ing scale,  according  to  directions,  we 
have  filled  the  screen  with  such  small 
objects  as  a  lump  of  sugar,  the  head  of 
a  toothbrush  and  many  other  things. 

Title  curtains    We   are  happy  to 

welcome  another  of 
our  South  American  neighbors  and 
League  members  to  the  columns  of  The 
Clinic.  This  time,  it  is  H.  Fernandes, 
ACL,  of  Paramaribo,  Suriname,  Dutch 
Guiana,  who  sends  this  clever  idea  for 
pleasing,  yet  easy  to  make,  title  cur- 
tains or  screens,  as  shown  here.  Mr. 
Fernandes  advises,  "Attach,  on  top  of 
your  title  easel  (D),  a  long  grooved 
wooden  lathe  (C),  upon  which  two 
screens  (A  and  B)  can  slide  easily. 
The  screens  can  be  made  of  two  sec- 
tions of  heavy  cardboard  or  light  ply- 
wood, and  the  sides  that  face  the  cam- 


era may  be  painted  with  a  design,  or 
they  may  be  covered  with  some  printed 
material  of  paper  or  cloth — in  color,  if 
Kodachrome  is  to  be  used. 

"The  illustration  below  shows  the  de- 
vice set  up  to  film  an  'End'  title.  After 
the  wording  has  been  filmed  for  the 
proper  length  of  time,  continue  running 
the  camera  and  have  an  assistant  push 
the  screens  slowly  and  at  equal  speed 
toward  the  center  until  they  close  out 
the  title. 

"In  the  case  of  a  presentation  title, 
the  screens  can  be  drawn  back,  to  re- 
veal rhe  lettering  behind  them.  All  sorts 
of  adaptations  of  these  ideas  are  possi- 
ble with  this  titling  gadget." 

Purple  haze  melts  away    Purple 

haze 
positive  stock  in  16mm.  is  no  longer 
available  from  the  manufacturer  and 
will  not  be  "for  the  duration."  Purple 
haze  was  a  rather  fanciful  designation 
which  referred  to  the  color  of  this  spe- 
cial film  base  itself — a  light  lavender. 
Movie  makers  liked  to  use  this  film  for 
positive  titles  which  were  to  be  spliced 
in  Kodachrome  subjects,  because  it  gave 
a  pleasing  effect  which  seemed  to  fit 
with  color.  However,  since  purple  haze 
is  now  unavailable  in  common  with  all 


CARDBOARD 

OR 
PLYWOOD 


Sliding  title  curtains  for  simple  trick  effect 


KENNETH    F.    SPACE,    ACL 

other  16mm.  stock  on  tinted  bases,  we 
must  accept  the  outcome  as  a  simplifi- 
cation in  manufacture  which  will  lib- 
erate certain  facilities  for  the  nationaj 
effort.  After  all,  black  and  white  posi- 
tive film  is  thoroughly  adequate  for 
titles.  Further,  the  resourceful  movie 
amateur  can  still  produce  excellent  color 
effects  in  his  black  and  white  titles,  by 
using  the  simple  tinting  and  toning  so- 
lutions now  on  the  market. 

April  showers  While  very  few  of 
us  would  devote 
much  footage  to  scenes  in  the  rain,  it  is 
nice  to  have  a  symbolic  shot  or  two  of 
the  beginning  of  spring,  and  showers 
are  one  of  the  appropriate  indications 
of  that  season.  An  attempt  at  filming  a 
shower  soon  teaches  us  that  rain  is  easy 
to  see  but  very  difficult  to  record  in 
movies.  The  result  usually  is  only  a 
scene  that  appears  to  be  a  bit  grainy. 
The  most  effective  shots  of  rain  are 
those  in  which  the  rain  is  splattering 
against  something.  A  happy  method  of 
getting  such  shots  is  to  set  the  camera 
up  in  front  of  a  window  during  a  gentle 
shower.  The  camera  should  be  placed 
far  enough  back  in  the  room  so  that 
part  of  the  window  frame  will  be  in- 
cluded in  the  scene.  When  it  is  properly 
filmed,  such  a  shot  will  show  the  scene 
outside,  sometimes  clearly  and  some- 
times slightly  diffused,  as  drops  of  rain 
can  be  seen  striking  the  window  pane. 
If  one  does  not  have  patience  enough  to 
wait  for  these  conditions,  a  fair  fac- 
simile may  be  obtained  on  any  cloudy 
day,  by  using  a  spray  of  water  from 
the  garden  hose.  The  reason  that  we 
suggest  a  cloudy  day  is  that  a  brightly 
sunlit  background  would  betray  the 
trick. 
j*|:  ,  I 
Convenient  editing  board     We 

are 
very   much   in    favor   of   any   idea   that 


161 


simplifies  the  problems  of  editing,  and 
we  read  John  L.  Dippach's  recent  letter 
with  a  sympathetic  smile.  But,  here  is 
how  the  letter  begins: 

"As  a  regular  reader  of  Movie 
Makers,  I  am  submitting  this  idea 
which  I  found  to  be  very  useful.  After 
becoming  tired  of  getting  a  stiff  neck 
from  viewing  my  pictures  when  I  was 
editing,  I  built  a  combination  editing 
board  and  rack  on  a  slant!" 

Mr.  Dippach's  idea  is  illustrated  in 
the  drawing  at  the  right. 

Four  pieces  of  plywood  were  used 
(three  pieces  of  one  half  inch  stock 
and  one  of  quarter  inch  stock) .  Two 
rewinds,  a  viewer,  a  splicer  with  bottles 
for  water  and  cement,  a  small  toggle 
switch,  some  pill  boxes  and  some  thumb- 
tacks were  also  needed.  The  legend  with 
the  sketch  shows  clearly  the  placement 
and  dimensions  of  the  various  parts,  and 
we  should  add  only  that,  where  Mr. 
Dippach  suggests  that  holes,  one  and 
three  quarter  inches  in  diameter,  be 
bored  in  the  background  board,  to  hold 
film  coils,  pill  boxes  of  similar  size  may 
be  fastened  to  the  board  with  thumb- 
tacks, since  anybody  can  obtain  the  pill 
boxes  at  the  drug  store,  while  one 
might  not  have  the  proper  tools  to  bore 
the  large  openings. 

Tripod  stabilizer     From  R.  M. 

Gridley,  ACL, 
comes  this  excellent  idea  for  a  "tripod 
stabilizer"  which,  as  Mr.  Gridley  says, 
"may  be  constructed  for  about  fifty 
cents  and  which  pays  big  dividends." 
This  "gadget"  holds  the  legs  of  a  tri- 
pod firmly  in  position  within  a  restricted 
area,  and  it  is  very  useful  in  making 
movies  from  a  seat  at  athletic  games, 
ice  carnivals  and  other  events  where 
limited  room  is  available  in  which  to 
operate  a  camera  mounted  on  a  tripod. 
We  also  think  that  other  values  may  be 
found  in  this  device. 


ooooooooo 

OOOOOQ^) 


1. 

Board,    8"  x   24"   x    l/2" 

2. 

Board,    6"    x    24"    x    l/2" 

3. 

Board,    10"  x   24"  x   l/2" 

4. 

Board,    10"   x  24"  x    l/4" 

5. 

Bottles    for   water    and    cement 

6. 

Splicer 

7. 

Rewinds 

8. 

Viewer 

9. 

Bottles   for  water  and   cement 

10. 

Viewer   light   switch 

II. 

Two    rows    of    pill     box    covers, 
place    by   thumbtacks 

held    in 

12. 

Rubber  headed   screws   or  pins 

This  locks  tripod  in  small  area 


Mr.  Gridley  explains,  "The  stabilizer 
is  a  triangular  piece  of  three  eighths 
inch  plywood,  the  sides  of  which  are 
about  fifteen  inches  in  length.  Holes  are 
bored  in  each  of  the  three  corners,  large 
enough  to  permit  one  of  the  feet  of  a 
tripod  to  slip  through  easily.  Beside 
each  hole,  but  slightly  nearer  the  cor- 
ners of  the  triangle,  a  smaller  hole  is 
bored.  (See  the  illustrations  below.) 
The  smaller  hole  must  have  a  diameter 
of  sufficient  size  to  receive  the  tripod 
leg  snugly,  just  above  its  foot.  Join  the 
two  holes  by  cutting  a  slot  between 
them,  the  width  of  which  must  coincide 
with  the  smaller  hole.  Each  tripod  foot 
is  locked  in  its  respective  hole  by  a 
slotted  slip  block,  fastened  securely 
with  a  one  quarter  inch  wing  nut.  as 
can  be  seen  in  the  illustrations.  The 
tripod,  with  stabilizer  attached,  may  be 
held  firmly  in  operating  position  by  the 
cameraman,  who  places  his  feet  on  the 
flat  board,  thus  using  his  weight  to  pin 
it  to  the  ground  or  to  the  floor.  When 
you  are  filming  a  game  from  the  bleach- 
ers, it  is  a  good  idea  to  select  a  seat 
that  is  adjacent  to  a  front  aisle." 

Filming  writing  Some  movie  mak- 
ers feel  that  the 
very  valuable  compensating  process  by 
which  certain  black  and  white  films  are 
developed  plays  them  false  when  they 
wish  to  film  black  script  on  white  paper. 
The  large  area  of  white,  in  such  cases, 
makes  the  scene  register  as  overex- 
posed to  the  processing  control,  and  the 
resultant  scene,  when  it  is  developed, 
may  not  have  the  same  contrast  that 
was  desired.  For  those  who  are  con- 
cerned about  this  effect,  we  suggest 
that,  after  the  correct  exposure  has 
been  determined  by  a  meter,  the  dia- 
phragm be  opened  one  stop  more  than 
the  meter  indicates.  This  added  amount 


This  homemade  editing   board   has 
conveniently   tilted    work   table 

of  overexposure  will  be  compensated 
for  and  will  bring  the  resultant  tonal 
value  down  to  about  the  actual  contrast 
of  the  material  being  filmed.  This  is  a 
special  instance  of  exposure  manipula- 
tion, and  it  should  be  followed  only 
when  one  is  shooting  with  black  and 
white  film  and  when  the  title  or  scene 
is  to  show  black  script  on  white  paper. 

Non  twist  tripod  top  Most  tri- 
pods are 
made  to  be  used  with  a  wide  variety  of 
cameras,  hence  their  tops  must  be  flat, 
to  accommodate  cameras  of  various 
widths.  A  source  of  minor  difficulty 
with  some  movie  makers  is  the  fact  that 


Aid  to  keep  camera  from  swiveling 

the  camera  can  revolve  on  the  flat  top 
unless  the  tripod  screw  is  tightened  very 
firmly.  The  camera  may  be  accidentally 
turned  when  the  tripod  is  being  moved 
from  one  position  to  another.  The  sim- 
ple "gadget"  shown  above,  which  pre- 
vents the  camera  from  swiveling  on  the 
tripod  top  when  the  user  desires  it  to 
remain  stationary,  is  quite  inexpensive 
to  make.  It  is  merely  a  piece  of  thin, 
stiff  metal,  one  side  of  which  is  bent 
downward,  over  one  edge  of  the  tripod 
top,  and  the  other  side  of  which  is  bent 
upward  to  fit  snugly  against  the  side  of 
[Continued  on  page  172] 


SPRING  RESOLVE 
Spring  sounds  the  call  to  movie 
makers  everywhere  to  film  out  of 
doors.  Make  one  resolve  when  you 
first  unlimber  your  camera — that  you 
will  hold  the  camera  steady!  Each 
year,  thousands  of  movie  makers  must 
learn,  all  over  again,  the  importance 
of  a  steady  camera.  Start  right  this  year 
and.  when  you  first  shoot  out  of  doors, 
take  your  tripod  with  you. 


162 


A  PLAN  FOR  SURGICAL  FILMING 


Medical  movie  maker  describes  his  methods 


•    Specia'     «  aerations-  "  *        .   . 

£„rt   camera 
periecT  pound 


MARSHALL     SMITH,     M.D. 

THE  chief  criticism  that  might  be  made  of  the  multitude  of  surgical  films  that  exist 
today  is  that  they  consist  simply  of  a  number  of  isolated  and  disconnected  pictures. 
There  is  not  available  a  complete  series  of  films  which  deal  with  one  specialty,  from 
start  to  finish.  It  is  as  if  one  could  purchase  only  isolated  chapters  from  textbooks 
instead  of  complete  texts. 

Hence,  our  aim,  at  the  Department  of  Biophotography  of  Rutgers  University,  is  to 
correct  the  situation  in  so  far  as  we  may.  We  have  been  producing  films  that  will 
constitute  an  entire  movie  textbook  about  gynecology.  Over  3000  feet  of  film  of  the 
subject  have  already  been  produced. 

I  have  been  an  amateur  movie  maker  since  1926,  and  I  was  delighted  when  the 
opportunity  arose  to  work  with  the  Department  of  Biophotography  in  the  production 
of  surgical  teaching  films.  I  had  made  a  few  black  and  white  surgical  films  previously, 
but  I  was  not  at  all  satisfied  with  the  results.  In  1935,  about  the  time  the  Department 
of  Biophotography  was  organized,  I  was  using  Kodachrome  for  surgical  movie  mak- 
ing. 

During  that  period  and  in  subsequent  work  with  color  filming  for  the  department,  I 
have  discovered  that  making  scientific  teaching  films  in  Kodachrome  is  an  entirely 
different  procedure  from  making  home  movies. 

First,  there  are  the  conditions  which  must  be  met  if  motion  picture  cameras  are  to 
be  used  in  an  operating  room.  They  are  as  follows. 

1.  There  must  be  100  percent  factor  of  safety,  as  far  as  the  patient  is  con- 
cerned. 

2.  Cine  equipment  that  is  used  must  in  no  way  annoy  or  interfere  with  the 
free  movements  of  the  surgeon,  his  assistants  or  the  operating  room  nurses. 

3.  Camera  and  movie  maker  must  be  placed  so  that  the  field  of  vision  of  the 
camera  will  be  the  same  as  that  of  the  surgeon,  or  better. 

4.  Lighting  equipment  must  provide  ample  illumination  for  filming,  with- 
out the  execessive  heat  and  glare  of  multiple  flood  lamps  at  close  range,  and 
the  illumination  must  be  under  the  control  of  the  cameraman. 

5.  All  wiring  and  switches  that  are  used  must  be  explosion  proof,  and 
there  must  be  no  danger  of  sparks  from  static. 

6.  There  must  be  an  accurate  method  of  focusing  without  the  necessity  of 
measuring  the  distance. 

7.  There  must  be  an  accurate  method  of  determining  the  correct 
exposure. 

8.  The  whole  equipment  must  be  portable,  to  permit  use  in  any 
hospital. 

After   considerable   experimentation,   we   have   satisfactorily   met 

these  requirements. 

Safety  is  of  prime  importance.  We  cannot  allow  any  unsterile 

equipment  or  individuals  to  get  in  contact  with  anything  that  is  used 
in  an  operation. 

I  designed  a  special  camera  dolly,  illustrated  on  this  page, 
and  had  it  built,  first  of  steel,  then,  after  the  design  had  proved 
satisfactory,  out  of  Duraluminum.  It  consists  of  three  main 
parts.  The  base  is  made  of  two  eight  foot  "H"  beams,  held 
together  only  at  one  end.  The  free  ends  project  on  either  side 
of  the  operating  table.  On  them  stands  a  tower,  built  of  two 
by  two  inch  angles,  narrowing  toward  the  top  and  provided 
with  a  ladder  up  the  back  and  a  platform  near  the  top.  To  the 

*         top  of  this  tower  is  fastened  an  overhang,  also  made  of  two 

j^         by  two  inch  angles,  which  holds  the  camera.  When  in  position, 

■  the  camera  is  eight  feet  above  the  floor,  and  it  overhangs  ap- 

■  proximately  four  feet  beyond  the  upright  support. 
To  move  this  dolly  from  one  hos-       [Continued  on  page  171] 


PRACTICAL  FILMS 


163 


The  non  theatrical  movie  as 
used  for  various  purposes 


Film  Report  from  U.  S.  Steel 

Approximately  three  million  persons  during  1941  at- 
tended showings  of  United  States  Steel  Corporation's 
educational  films  depicting  the  making  of  steel,  it  was 
recently  reported.  This  attendance  increase  of  sixteen  per- 
cent over  1940,  it  is  felt,  occurs  mainly  because  of  greater 
public  interest  in  steel  as  an  essential  product  of  our  war 
program.  These  films  are  in  constant  use  in  training 
classes  in  arsenals,  colleges  and  industrial  plants;  The 
Making  and  Shaping  of  Steel,  reviewed  in  the  September, 
1940,  Movie  Makers,  is  a  required  part  of  the  cur- 
riculum in  some  courses  of  study.  U.  S.  Steel  films  are 
available  from  company  offices  in  New  York  City,  Pitts- 
burgh, Chicago,  Cleveland,  Birmingham,  Ala.,  and  San 
duced   by  The  Aetna   Casualty   &   Surety   Company,   in 

Safety  Films  from  Aetna 

Designed  to  acquaint  motorists  with  the  new  Safety- 
Responsibility  Law  which  became  effective  in  New  York 
State  the  first  of  this  year,  two  movies  have  been  pro- 
duced by  The  Aetna  Casualty  &  Surety  Company,  in 
Hartford,  Conn.  The  Right  to  Drive  tells  of  a  driver  who, 
becoming  involved  in  an  accident,  proves  to  be  unable  to 
meet  the  requirements  of  the  law  and  so  loses  his  license. 
He  and  his  family  forego  the  pleasure  and  convenience  of 
driving  a  car  until  he  manages  to  raise  the  money  to  ful- 
fill his  obligations  for  the  accident  and  for  the  necessary 
insurance.  Thou  Shalt  Not  Kill  points  out  the  principal 
causes  of  accidents  and  shows  briefly  how  one  may  be- 
come a  careful  motorist.  Reckless  driving  may  result  in 
confiscation  of  a  license  until  the  driver  proves  his  abil- 

•    Frames   from    "Old    Ideals    and    New    Horizons,"    film 
for  Wheaton  College,  made  by  Robert  F.  Sowen,  ACL. 


GORDON     L.     HOUGH 

ity  to  pay  for  any  damage  that  he  may  cause.  Governor 
Lehman,  of  New  York,  and  Motor  Vehicle  Commissioner 
Mealey  explain  the  new  law  and  the  reasons  for  its  enact- 
ment. These  two  16mm.  sound  films  are  distributed  by 
New  York  State  offices  of  both  The  Aetna  Casualty  & 
Surety  Company  and  the  Bureau  of  Motor  Vehicles. 

West  Hartford  Host  to  CAVEA 

The  first  meeting  of  the  new  year  of  the  Connecticut 
Audio-Visual  Education  Association  took  place  at  the 
James  Talcott  Junior  High  School  in  West  Hartford, 
Conn.,  on  January  17.  After  the  call  to  order  by  Edward 
F.  Wheeler,  ACL,  president  of  CAVEA,  the  delegates 
were  welcomed  by  Lloyd  Bugbee,  superintendent  of  West 
Hartford  Schools.  Alonzo  G.  Grace,  State  Commissioner 
of  Education,  William  H.  Couch  and  Ralph  Rochefort 
White  were  the  featured  speakers  of  the  occasion. 

Good  Neighbor  Film 

The  seasonal  flights  of  birds  all  over  the  American 
continents,  irrespective  of  boundaries  and  man  made 
laws,  constitute  the  theme  of  High  Over  the  Borders,  a 
two  reel  movie  prepared  jointly  for  the  Office  of  Inter- 
American  Affairs,  the  National  Film  Board  of  Canada 
and  the  New  York  Zoological  Society.  Most  of  the  foot- 
age came  from  the  newsreel  and  nature  libraries  of  the 
National  Film  Board,  while  John  Fenno  did  the  new 
camera  work  and  the  editing.  Irving  Jacoby  was  the 
writer  and  director,  Phil  Brown  was  the  narrator  and 
Vittorio  Giannini  composed  the  musical  score.  The  Na- 
tional Film  Board  is  handling      [Continued  on  page  175] 


16mm.  scenes  by  Robert  F.  Gowen,  ACL 


164 


NEWS  OF 
THE  INDUSTRY 


Answers  the  query 
"What's  new?"  for 
filmer  and  dealer 


•    Caspeco     Professional     Tripod,     made     by    Camera 
Specialty    Co.,    is    sturdy,    durable    and    attractive. 


•    New   Kodascope   Sixteen-10  features  efficient  design 
and    is    built    especially    for    lamps    up    to    750    watts. 


•    Adolph     Stuber,     recently    elected 
vicepresident  of    Eastman    Kodak   Co. 

RUSSELL     C.     HOLSLAG,     ACL 

Workers  aid  defense      Employees  of  all  photographic  divisions  of  the 

Eastman  Kodak  Company,  Rochester,  N.  Y., 
have  shown  an  "all  out"  enthusiasm  in  aiding  the  national  war  effort.  It  is 
stated  that  eighty  nine  percent  of  Kodak  employees  are  buying  defense 
bonds  by  the  payroll  plan.  An  additional  four  percent  are  purchasing  bonds 
in  other  ways,  making  the  complete  total  over  ninety  percent. 

Non  metal  reel  files  Movie  makers  who  use  8mm.  now  have  available 
a  new  item  in  compact,  nicely  finished  carry- 
ing and  storage  cases  for  transporting  and  filing  films.  These  are  the  Victor 
Reel  Cases,  made  by  Western  Movie  Supply  Company,  245  Sutter  Street, 
San  Francisco,  Calif.  The  cases  are  neatly  finished  in  black  or  brown  Fabri- 
cord,  and  the  reels  themselves  are  contained  in  removable,  book  like  com- 
partments. The  Model  VCW,  complete  with  eighteen  plastic  reels,  sells  for 
$16.75.  The  Model  VCC,  which  is  similar  but  which  does  not  include  the 
plastic  reels  in  its  price,  sells  for  $10.00.  Individual  files,  each  holding  six 
200  foot,  8mm.  reels,  may  be  purchased  separately. 

Air  raid  film  A  timely  new  film,  which  is  said  to  be  the  first  on  this 
specific  subject  to  be  produced  in  America,  has  been  re- 
leased by  Brandon  Films,  Inc.,  1600  Broadway,  New  York  City.  Its  title  is  Air 
Raid  Warden,  and  it  conveys  its  instruction  in  the  form  of  a  story  told  by 
a  typical  warden  as  he  performs  his  varied  functions.  The  film  is  in  16mm. 
sound  and  sells  for  $25.00.  The  subject  is  also  available  on  a  rental  basis. 

Teitel's  tones  and  tints  The  name  01  Albert  Teitel  has  been  famil- 
iar to  movie  amateurs  since  the  beginning 
of  substandard  film.  Mr.  Teitel  originally  entered  the  16mm.  field  with  a 
background  of  long  experience  in  laboratory  work,  and  he  originated  the 
Teitel  Scratch  Proof  and  Long  Life  processes.  He  is  now  extending  his 
activities  in  the  field  and  has  developed  a  new  set  of  easily  worked  tones  and 
tints,  to  be  marketed  under  his  name. 

It  is  stated  that  the  new  process  has  effected  a  special  simplification  of 
toning,  since  the  result  is  gained  through  the  use  of  one  powder,  one  solu- 
tion and  one  operation.  The  Teitel  color  tones  come  in  a  neatly  boxed 
package  containing  four  capsules,  which  will  tone  any  8mm.  or  16mm. 
black  and  white  film  a  blue,  brick  red,  sepia  or  green.  These  tones  color 
the  blacks  and  grays  of  the  picture,  leaving  the  high  lights  unaffected.  The 
tints,  on  the  other  hand,  color  the  high  lights  of  the  picture,  leaving  the 
blacks  as  they  were.  The  tints  come  in  colors  of  red,  blue,  yellow  and 
orange.  Interesting  experiments  in  combinations  of  tinting  and  toning  may 
be  made,  and  the  Teitel  Laboratory  will  be  pleased  to  give  advice  to 
amateurs  and  professionals  on  special  effects.  A  complete  package  of  four 
tones  and  tints  sells  for  $1.50.  Manufacturers  are  Teitel  Laboratories, 
P.  O.  Box  123,  Corona,  N.  Y. 

Film    directory       A  new  edition  of  the  Victor  Directory  of  16mm.  Film 

Sources  is  to  be  issued  shortly.  In  spite  of  the  fact  that 

only  a  few  months  have  elapsed  since  the  publication  of  the  eighth  edition 

of  this  well  known  book,  it  is  said  that  an  un-       [Continued  on  page  176] 


MOVIE    MAKERS 

It's  a  dog's  life! 

[Continued  from  page  145] 

the  local  game  warden  to  fetch  you  a 
couple  of  dozen  nice  fat  breeders  from 
the  game  farm.  They  are  pen  raised  and 
can't  fly  too  far  or  too  fast,  for  easier 
spotting  and  shooting.  In  the  morning, 
you  make  a  cover  trap  from  a  wire  bi- 
cycle package  carrier  and  place  about 
eight  quail  under  the  trap.  You  allow 
the  dogs  to  see  the  birds;  then  you  back 
them  up  fifty  yards  and  turn  them  loose. 

Yowser!  You  sure  know  something 
this  time,  for  the  first  brace  of  dogs 
makes  a  beeline  for  the  potted  birds, 
and  you  have  the  camera  running,  ready 
to  pick  up  the  point,  from  a  dead  run. 

Well,  of  all  the  bad  breaks — the  dogs 
stop  at  the  hidden  cage  and  wag  their 
merry  tails  and  set  up  a  series  of  un- 
dignified barks. 

Somebody  guesses  that  there  is  no 
scent — so  you  tie  black  thread  to  each 
bird's  foot  and  lead  him  around  for  a 
nice  quiet  walk.  Then  you  take  a  bird 
in  each  hand  and  whirl  your  arms 
around  like  a  baseball  pitcher  winding 
up.  You  did  it  once  before  with  pheas- 
ant, and  it  really  puts  the  birds  to  sleep. 
Slipping  their  heads  under  their  wings 
will  make  it  work  better,  but  you  may 
snap  a  neck  if  you  don't  handle  them 
with  special  care. 

After  you  whirl  the  birds  around 
about  five  times,  you  quickly  slip  them 
into  heavy  tufts  of  field  cover.  You 
place  all  the  birds  in  a  sort  of  circle, 
not  over  four  yards  in  diameter,  and 
back  off  to  watch.  In  about  two  minutes, 
the  quail  snap  out  of  their  stupor,  but 
they  hug  their  hidden  nests,  thinking 
that  you  don't  know  where  they  are. 

Now  you  try  the  dogs  again,  with  the 
camera  already  focused  on  the  "hot 
spot."  Ah!  This  time  you  pull  the  "jack 
pot."  The  leading  setter  catches  a  whiff 
ten  feet  away  from  the  birds  and  freezes 
as  if  he  were  hynotized.  The  big  rangy 
pointer  honors  the  setter's  point  in  such 
a  hurry  that  he  is  nearly  bent  in  half 
and  left  standing  on  three  legs.  Now 
you  can  easily  knock  over  two  for  the 
meat  pot.  The  double  retrieve  is  a 
"steal."  How  those  dogs  know  how  to 
divide  up  the  fallen  game  and  not  both 
go  after  the  same  bird  is  something  so 
fascinating  that  I  forgot  to  ask  about  it. 

Yes  sir,  shooting  dog  stories  is  a 
"snap"  if  you  have  imagination,  patience 
and  enough  film — and  what  has  a  fel- 
low got  a  camera  for  if  he  hasn't  these 
three  items?  How  long,  you  ask,  did  it 
take  me  to  figure  out  this  stuff?  You 
got  me,  partner,  I  confess.  I  have  been 
at  it  for  fifteen  years,  and  I  still  can"t 
make  'em  work  every  time. 


165 


GRAFLEX 
GETS  IT 


THERE'S  a  pleasant  sense  of  reserve 
power  about  a  Graflex.  Maybe  you 
don't  need  a  shutter  speed  of  1/1000  often, 
but  when  the  need  does  come  you  can  meet 
it,  with  a  Graflex.  And  capitalize  on  it. 
Speed  is  only  one  of  the  Graflex's  capa- 
bilities. It  gives  you  right-side-up  ground- 
glass   focusing   that    eliminates    guesswork 

Graflex  and  Graphic  cameras  are  made  by  the  Folmer  Graflex  Corporation 


either  for  distance  or  for  composition. 
With  the  2*4  x  3\4  Series  B,  illustrated 
here,  you  have  a  revolving  back,  the  fa- 
mous 5V2 "  Kodak  Anastigmat  //4.5  lens, 
25  focal  plane  shutter  speeds,  and  adapta- 
bility to  plates,  film  packs,  or  sheet  film. 
Investigate  the  Graflex.  Your  Kodak 
dealer  will  be  glad  to  show  it. 


EASTMAN  KODAK  COMPANY,  ROCHESTER,  N.  Y. 


SAY  Q*£pH0T0H00dS.. 
get  the  BEST  BALANCE  ^^ 

of  picture-taking  LIGHT, 
LAMP  LIFE  and  color  temperature 


Lamp  life,  light  and  color  temper- 
ature move  together  in  balance. 
If  you  gain  on  one  side  you 
lose  on  the  other.  That's  a 
fact  checked  by  60  years  of 
lamp-making  and  research.  So 
General  Electric  controls  this 
balance  of  light,  life  and  color  to 
fit  your  needs  best ...  and  gives  it 
to  you  uniformly,  at  low  cost,  in 
G-E  MAZDA  Photoflood  lamps. 


GENERAL  (gjp  ELECTRIC 
MAZDA  PHOTO   LAMPS 


166 


APRIL    1942 


A  Beautiful  Color  Movie  of 
Washington  Prior  to  the  War 

Here's  a  soothing,  exquisitely  lovely  color 
movie  made  of  your  Nation's  Capital  during 
Cherry  Blossom  time.  It  shows  the  famous  Cherry 
Blossoms  in  their  natural,  glorious  color,  shots 
of  President  Roosevelt  at  the  egg  rolling  on 
the  White  House  lawn,  shots  of  Vice  President 
laying  wreath  on  Unknown  Soldier's  Tomb  and 
other  famous  events.  Here's  a  movie  that's 
historically  famous  as  well  as  artistically  per- 
fect.   Reserve  yours,   now. 


1 00  ft. 
16  mm. 


$1750  so*  $1050 

II  8  mm.         I   fln 

Send  check  or  money  order  to 


BYRON'S  Inc. 

625    15th  St.,    N.  W.,  Washington,   D.  C. 

One  of  the  leading   motion  picture  producers 
in  the  East 


IS  COMING  TO  l6MM  FILM 

WATCH  FOR  IT! 
J.A.MAURERJNC. 

11T  EAST  2»*  ST.  NEW  YORK 


\V 


& 


CIVILIAN  DEFENSE 
TRAINING   FILM 

"AIR  RAID  WARDEN" 


A  calm,  carefully  made  presentation  of  the  warden's 

role  before  and  during  a  blackout. 

1  reel — 16mm.  sound — 10  min.  Rental  $2.50 — Sale  $25 

ORDER   YOUR  COPY   N0W1 

Dept.    "MM" 

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Films  you'll  want  to  show 

Non  theatrical  movie  offerings 
for  substandard  projection 


B  Sahara,  16mm.  sound  and  silent  and 
8mm.  silent,  one  reel,  is  an  exotic  mo- 
tion picture  travelog,  released  by  Castle 
Films,  Inc.,  30  Rockefeller  Plaza,  New 
York  City.  Here  we  journey  to  Fez, 
with  its  street  fakirs,  bazaars  and  na- 
tive dancing.  We  hear  the  muezzin  call- 
ing from  the  tower  of  the  mosque.  We 
travel  over  the  burning  desert  sands  to 
the  welcome  relief  of  an  oasis.  A  sand- 
storm in  action  is  a  feature  of  this  in- 
teresting film. 


■  Cloistered,  16mm.  sound  on  film, 
running  time,  seventy  one  minutes,  is 
distributed  by  Nu-Art  Films,  Inc.,  145 
West  45th  Street,  New  York  City.  This 
subject  constitutes  an  authentic  and 
impressive  account  of  the  entrance  of 
a  novice  to  a  convent  and  of  her  spir- 
itual experiences  in  successive  stages 
up  to  the  time  of  becoming  a  nun.  It 
was  filmed  by  special  permission  of 
Pope  Pius  XII,  and  it  has  the  endorse- 
ment of  ecclesiastical  authorities  of  the 
Catholic  Church. 


sound,  produced  with  the  cooperation 
of  the  U.  S.  Marine  Corps,  follows  a 
marine  recruit  from  his  induction, 
through  the  various  stages  of  training, 
up  to  the  work  of  the  Marine  para- 
chute troops.  The  film  is  climaxed  by 
full  stage  infantry,  artillery  and  naval 
landing  maneuvers.  It  is  released  by 
Official  Films,  330  West  42nd  Street, 
New  York  City. 


•  Suffer  Little  Children,  three  reels, 
16mm.  sound  and  color,  is  a  reverent 
portrayal  of  some  of  the  representa- 
tive examples  of  Christ's  ministry, 
filmed  in  a  natural  environment,  with 
authentic  costumes.  It  is  the  third  in  a 
series  of  Biblical  presentations,  made 
in  16mm.  Kodachrome,  with  recorded 
dialog  and  background  music.  These 
subjects  are  available  from  Astor  Pic- 
tures Corporation,  130  West  46th 
Street,  New  York  City. 


B  The  Marines  Have  Landed,  one  reel, 
8mm.     silent    and     16mm.    silent    and 


■  Swing  It,  Sailor,  16mm.  sound  on 
film,  running  time,  sixty  five  minutes, 
is  a  breezy  action  subject  having  to  do 
with  two  sailors  in  the  United  States 
Navy.  Husky  Stone,  the  strong  man  of 
the  pair,  thinks  that  romance  has  come 
to  him,  a  situation  which  meets  with 
the  disapproval  of  his  "pal,"  Pete 
Kelly.  How  Husky  finally  loses  the  girl 
and  signs  up  for  four  more  years  is 
told  in  a  rousing  style.  The  subject  is 


MOVIE   MAKERS 


167 


distributed  by  Post  Pictures  Corpora- 
tion, 723  Seventh  Avenue,  New  York 
City. 


'  It's  a  Greek  Life  is  an  entertaining 
16mm.  sound  cartoon,  in  the  new  three 
color  Technicolor  process,  one  reel  in 
length.  In  the  story,  the  Greek  god  Mer- 
cury arouses  the  envy  of  a  shoemaker 
who  steals  the  famous  winged  sandals. 
His  flying  attempts,  however,  are  so 
clumsy  as  to  get  him  into  all  sorts  of 
trouble.  Matters  are  straightened  out 
by  a  couple  of  clever  ducks.  The  sub- 
ject is  one  of  a  series  of  color  and 
sound  cartoons  released  by  Common- 
wealth Pictures  Corporation,  729  Sev- 
enth Avenue,  New  York  City. 


B  Way  Down  South,  16mm.  sound  on 
film,  running  time,  eighty  minutes,  is  a 
realistic  story  of  Louisiana  in  ante  bel- 
lum  days.  The  child  singer,  Bobby  Breen, 
plays  the  part  of  a  courageous  lad  who 
struggles  to  hold  together  the  planta- 
tion inherited  from  his  father.  He  sings 
melodious  spirituals,  supported  by  the 
Hall  Johnson  choir.  The  subject  is  re- 
leased by  Walter  0.  Gutlohn,  Inc.,  25 
West  45th  Street,  New  York  City. 

Next  trip  —  Quebec 

[Continued  from  page  146] 

tain's  foot  to  the  water's  edge.  From 
the  top  can  be  seen  the  blue  of  the 
famed  Laurentians  and  the  Adiron- 
dacks,  just  south  of  the  international 
boundary.  Looking  westward,  we  see 
the  sparkle  of  water.  Part  of  the  great 
inland  waterway,  stretching  from  the 
Great  Lakes,  flows  directly  below  us 
and  on  to  the  eastward,  to  be  lost  in 
the  distance  as  it  nears  the  end  of  its 
long  journey  to  the  sea.  Kodachrome 
is  very  much  in  order,  and  on  most 
days  a  haze  filter  can  be  omitted. 


Your  "cabby"  will  point  out  interest- 
ing landmarks,  and  you  may  find  that 
a  few  closeups  of  his  animated  gestures 
will  be  a  real  asset  to  your  story. 

Montreal  is  famous  for  its  churches. 
Notable  among  these  are  Notre  Dame, 
modeled  after  Notre  Dame  in  Paris, 
and  St.  James  Cathedral,  a  reproduc- 
tion on  reduced  scale  of  Rome's  mighty 
St.  Peter's.  Montreal  is  the  home,  too, 
of  the  shrine  where  Brother  Andre 
worked  his  miracles  and  where  he  died 
not  long  ago.  Today,  the  dome  of  a 
great  church  rises  on  the  northwest 
slope  of  Mount  Royal,  and  it  is  a  dom- 
inating landmark,  visible  for  many 
miles. 

Sharp  contrasts  are  encountered  in 
this  ancient  modern  city.  Along  the 
harbor  front  stand  monolithic  grain 
elevators,  loading  the  ocean  liners 
which  carry  grain  to  Liverpool  and 
other  ports.  The  wharves  are  easily  ac- 
cessible and  afford  many  interesting 
viewpoints,  splendid  opportunities  for 
pleasing  light  and  shade  effects  and 
shots  of  busy  harbor  life.  Almost  with- 
in a  stone's  throw  is  Bonsecours  Mar- 
ket, where  farmers  bring  their  vege- 
tables, fruit  and  tabac  Canadien  to  be 
pinched,  scrutinized  and  bargained  for 
in  time  honored  fashion  by  the  thrifty 
citizenry.  Here  you  will  find  a  real 
"happy  hunting  ground"  for  human  in- 
terest subjects. 

The  boat  trip  between  Montreal  and 
Quebec  City  is  justly  popular,  giving 
as  it  does  a  splendid  view  of  both 
shores  of  the  river.  The  trip  is  not  ex- 
pensive, and  the  white  cruise  ships  of 
Canada  Steamship  Lines  afford  every 
luxury.  The  motor  highway  follows  the 
river.  It  provides  an  inviting  movie  prel- 
ude to  shots  of  the  pastoral  beauty  of 
the  French  Canadian  countryside,  which 
becomes  more  rugged  and  impressive 
as  it  approaches  the  Gulf. 

High  on  its  rampart  girded  heights 
is  the  Ancient  Capital  of  New  France — 
Quebec  City.  The  fortifications  still 
stand,  and  behind  the  city  stretch  the 
Plains  of  Abraham,  where  Wolfe  and 
Montcalm  waged  the  death  struggle 
which  replaced  the  French  with  the 
British  flag  and  brought  a  hero's  death 
to  both.  Their  statues,  framed  against 
the  fort,  will  make  a  good  addition  to 
your  historical  collection.  Steep  cobbled 
streets  climb  from  the  Lower  to  the  Up- 
per Town,  and  in  some  sections  of 
the  city  there  is  barely  room  for  two 
cars  to  pass. 

Half  an  hour's  drive  from  the  city 
is  Ste.  Anne  de  Beaupre,  a  shrine  which 
attracts  pilgrims  from  all  parts  of  the 
world.  Crutches  are  piled  high,  to  bear 
witness  to  the  healings  which  the  faith- 
ful have  experienced  at  this  sacred  spot. 
On  the  way  is  Montmorency  Falls, 
higher  than  Niagara,  where  excellent 
shots  can  be  made  from  platforms  over- 
looking the  falls. 


PLAN  NOW 
TO  WIN 

COME  to  CANADA 

16mm.  MOVIE  CONTEST 


Many  fine  movie  shots  are  made  in 
Beautiful  New  Brunswick,  one  of  the 
four  co-operating  Canadian  Provinces 
offering  prizes. 

WHAT  AN  OPPORTUNITY  TO 
COMBINE  A  GLORIOUS  VA- 
CATION WITH  THE  CHANCE 
TO  WIN  THESE  VALUABLE 
PRIZES! 

$500 

and 

ALL-EXPENSE  TOURS 

CHOOSE  ONE  OF  THESE 
PROVINCES  FOR  YOUR  TRIP 


British  Columbia. 


Awe  inspiring 
grandeur  of 
mountain,  lake  and  forest.  De  luxe  accom- 
modations for  travel  and  sojourn.  A  choice 
of  several  tours  in  this  Province. 

ft„.L.,      Old  France  brought  to  Canada. 

yueoec.  Quaint  and  colorful  old  world 
scenes  and  customs.  The  great  cities  of 
Montreal  and  Quebec  and  the  Acadian  coun- 
tryside. The  prize  is  an  all  expense  tour  of 
three  weeks. 

New  Brunswick.  ^c^e^ 

Action  aplenty,  too,  in  the  great  salmon 
angling  streams  of  this  Province.  A  choice 
of  general  scenic  attractions  or  a  canoe 
camping  trip  is  offered. 

Prince  Edward  Island.  ^aTmosl 

sphere,  sparkling  skies,  sun  and  surf,  this 
Island  Province  is  outstanding.  Sports  and 
colorful  scenery  vie  to  capture  the  camera's 
attention. 

•One  prize  will  be  granted  by  each  of  the 
four  co-operating  Provinces  for  the  best 
film  about  that  Province,  the  prize  consisting 
of  a  free  tour  for  two  persons  within  that 
Province.  There  will  be,  in  addition,  a  cash 
prize  of  $500.00,  given  by  the  National  Film 
Board,  to  the  film  considered  by  the  judges 
to  be  the  best  of  the  four  films  winning  the 
free  tours  offered  by  the  Provinces  concerned. 

Write  for  complete  Contest  Rules  or  see 
February    MOVIE    MAKERS.    Page    92. 

NATIONAL  FILM  BOARD 
OF  CANADA 

OTTAWA,  CANADA 


168 


APRIL   1942 


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If  you  have  decided  to  go  by  boat, 
then  a  most  effective  sequence  can  be 
obtained  from  the  top  deck  of  your  ship 
as  you  leave  Quebec — that  is,  you  can 
if  wartime  conditions  permit  the  shot  at 
this  time.  Your  camera,  held  to  frame 
the  view  between  the  funnels  of  the 
steamer,  will  give  you  the  smoothest 
trucking  shot  imaginable  as  the  boat 
pulls  out. 

As  we  travel  down  the  river,  our  cam- 
era will  record  the  passing  vessels  and, 
in  sharp  contrast,  the  small  "chuggers," 
piled  to  their  very  edges  with  logs, 
en  route  to  the  pulp  mill.  With  a  little 
inland  investigation  on  your  part,  you 
will  have  no  difficulty  in  finding  wind- 
mills and  water  wheels  that  still  turn, 
oxen  plodding  before  the  plough  and 
bread  being  baked  in  outdoor  ovens. 
In  the  shade  of  the  barns  are  the  wo- 
men folk,  busy  at  hooked  rugs  or  Mur- 
ray Bay  blankets.  Here  is  color,  color, 
color — new  dyed  wools,  the  green  coun- 
tryside, the  blue  of  sky  and  river,  sandy 
beaches,  the  gleam  of  drying  fish  nets. 

No  two  movie  makers  will  interpret 
all  this  in  the  same  way.  Some  will 
want  a  series  of  short  scenes  of  the 
various  handicrafts.  Others,  because  of 
the  fascination  of  old  world  ways,  may 
want  to  dramatize  the  whole  story  of 
weaving,  starting  with  the  flax  plant, 
in  the  case  of  linen,  or  with  the  sheep 
which  provide  the  wool  that  is  woven 
into  everything  from  hand  towels  to 
rugs.  The  carding,  the  dyeing,  the  spin- 
ning, the  washing,  the  drying — all  are 
here  for  your  camera  to  record. 

There  will  come  a  time,  no  doubt, 
when  you  will  want  to  indicate  your 
gratitude  to  your  habitant  friend  for  his 
trouble.  I  suggest  that  you  take  along 
a  still  camera  and  with  it  take  a  few 
snapshots  of  his  family.  Send  him 
prints,  after  you  get  home,  and  you  and 
your  friends,  if  ever  you  go  back  to 
film  again,  will  find  him  the  very  soul 
of  cooperation!  Many  of  these  people 
have  never  seen  a  movie,  have  never 
heard  a  radio.  The  habitant  still  believes 
that  the  simple  life  is  best.  His  interests 
are  few  and  sincere;  they  center  in  his 
farm,  his  family  and  his  God.  When  the 
Angelus  rings  in  the  village  church,  the 
habitant  still  kneels  on  the  ground 
where  he  has  been  toiling,  to  thank  the 
Bon  Dieu  for  his  blessings. 

In  sharp  contrast  to  all  this  is  the 
Manoir  Richelieu,  at  Murray  Bay,  on 
the  north  shore  of  the  St.  Lawrence. 
The  elite  of  two  continents  come  to  this 
superb  resort  for  golfing,  swimming, 
riding  and  all  the  other  amenities  of 
vacation  life.  The  American  colony, 
which  is  unusually  large,  was  distin- 
guished in  earlier  years  by  the  presence 
of  former  President  Taft,  who  spent 
many  summers  here. 

A  long  shot  of  the  Manoir  from  the 
water,  taken  as  you  approach  Murray 
Bay,  could  precede  views  of  its  hand- 
some  entrance   and   spacious,   terraced 


lawns.  The  shots  will  contrast  sharply 
with  the  rural  atmosphere  of  your  ear- 
lier scenes.  Perhaps  you  will  linger  here 
for  a  few  days.  If  you  do,  you  will 
naturally  enjoy  swimming  in  the  pool, 
and  there  you  will  have  ample  oppor- 
tunity to  get  some  "bathing  beauty" 
footage  to  add  zest  to  your  film. 

If  you  are  a  follower  of  Izaak  Wal- 
ton, you  have  no  doubt  brought  along 
a  rod  as  well  as  a  camera.  From  here 
to  Tadoussac  and  on  up  the  Saguenay 
River  country  is  some  of  the  finest  trout 
and  salmon  fishing  in  the  world.  If 
you  are  lucky,  you  will  get  a  real  fish- 
ing sequence,  to  show  your  friends 
when  you  get  home — a  proof  of  your 
ability,  not  only  with  the  camera  but 
with  the  rod  and  line  as  well. 

A  most  important  accessory  for  back- 
woods filming  is  a  supply  of  your  fa- 
vorite "bug  juice" — citronella  or  some 
other  protection  against  insect  bites.  It 
is  a  bit  difficult  to  swat  a  mosquito  and 
to  keep  your  camera  steady,  all  at  the 
same  time! 

By  all  means,  reserve  a  weekend  for 
a  cruise  up  the  Saguenay.  Where  it 
joins  the  St.  Lawrence  Seaway  stands 
Tadoussac,  one  of  the  earliest  settle- 
ments on  the  continent,  and  today  it  is 
the  summer  haven  of  vacationists  from 
both  sides  of  the  border.  The  Sague- 
nay's  deep  black  waters  and  towering 
cliffs  have  inspired  awe  in  the  breasts 
of  travelers  ever  since  the  days  of  the 
early  explorers,  who  thought  it  to  be 
the  long  sought  passage  to  the  Indies. 
Climax  of  the  trip  is  Cape  Trinity  and 
Cape  Eternity,  the  former  marked  by  a 
massive  statue  of  the  Blessed  Virgin 
part  way  up  its  side.  Rising  sheer  from 
the  water  to  1800  feet,  the  granite  cliffs 
dwarf  our  cruise  ship  as  it  skirts  the 
shore.  They  seem  to  be  close  enough  to 
touch;  but,  even  if  you  boast  a  good 
pitching  arm,  you  will  find,  when  you 
try  to  throw  a  pebble,  that  it  falls  far 
short. 

Wherever  you  go  in  Quebec  Province, 
you  will  find  your  good  friend,  Jean 
Baptiste,  eager  to  prove  his  hospitality. 
He  will  enjoy  your  movie  making  fully 
as  much  as  you.  He  will  gladly  demon- 
strate his  simple  farm  machinery,  in 
many  cases  built  by  himself  or  his  par- 
ents with  their  own  hands.  He  will 
proudly  line  up  his  large  family  to  have 
their  picture  taken.  He  may  even  in- 
vite you  in  for  some  of  that  soul  stir- 
ring, delicious  French  Canadian  pea 
soup  for  which  he  is  justly  famous. 

And  you,  with  a  good  camera,  an  ex- 
posure meter  and  the  blood  of  the  true 
amateur  movie  maker  in  your  veins, 
will  expose  far  more  film  than  you  had 
planned — and  not  regret  it  a  bit!  In 
fact,  you  will  not  surprise  us  if  you  de- 
cide, when  your  holiday  is  over,  to  re- 
turn again  to  old  Quebec  and  to  shoot 
another  thousand  feet.  You  might,  if 
you  enter  the  Canadian  National  Film 
Board  contest! 


MOVIE    MAKERS 


169 


16mm.  MOVIES  AS 
COURT  EVIDENCE 

WILLIAM  W.  WILSON,  ACL 


THE  Illinois  Appellate  Court  for  the 
Second  District  recently  handed 
down  an  opinion  which  is  the  first  deci- 
sion of  a  higher  court  in  Illinois  on  the 
use  of  amateur  movies  as  evidence  in 
court. 

The  case  was  a  suit  for  damages  for 
personal  injuries.  The  plaintiff  claimed 
that  he  was  severely  injured  in  an  au- 
tomobile accident,  due  to  the  careless- 
ness and  negligence  of  the  defendant, 
and  the  defendant,  to  controvert  the  se- 
riousness of  the  injuries,  offered  a 
16mm.  moving  picture  in  evidence.  The 
moving  pictures  showed  that  the  plain- 
tiff could  perform  acts  which  he  claimed 
he  was  unable  to  do,  because  of  the  in- 
juries. The  Appellate  Court  held  that, 
if  a  proper  foundation  was  laid  for  the 
introduction  of  the  pictures,  they  could 
be  used  as  evidence,  and  said  that  the 
same  general  rules  applied  to  the  use 
of  moving  pictures  that  applied  to  the 
use  of  still  pictures  in  evidence. 

It  seems  that  the  following  things  are 
necessary  to  be  shown  before  the  pic- 
tures can  be  introduced: 

1.  Qualification  of  the  person  taking 
the  pictures. 

2.  Type  and  character  of  camera  and 
that  it  is  in  first  class  working  condi- 
tion. 

3.  Type  of  film  used. 

4.  That  the  photographer  can  see  the 
subject  all  of  the  time  the  camera  is  in 
motion. 

5.  To  whom  the  films  were  delivered 
for  development,  and  that  they  were 
developed  and  returned  to  the  photog- 
rapher, and  that  the  projection  of  the 
film  upon  the  screen  is  a  correct  por- 
trayal of  the  conditions  and  objects  as 
the  photographer  saw  them  through  the 
use  of  the  naked  eye  at  the  time  they 
were  being  photographed. 

6.  That  there  has  been  no  cutting, 
erasing  or  tampering  with  the  film. 

In  addition,  the  person  who  is  in 
charge  of  the  processing  of  the  film 
must  testify  that  the  films  were  devel- 
oped in  the  usual  and  customary  man- 
ner, and  that  the  films,  when  they  were 
used  in  the  trial,  were  in  the  same  con- 
dition as  they  were  when  they  were 
delivered  back  to  the  photographer. 

In  this  case,  the  films  were  viewed  by 
the  Appellate  Court  on  the  appeal.  The 
court  in  its  opinion  cites  several  cases 
from  other  States  which  have  passed 
upon  the  admissibility  of  moving  pic- 
tures, and  those  having  access  to  the 
reports  of  the  other  States  may  be  in- 
terested in  consulting  the  following 
cases: 


Boyarsky    vs    Zimmerman    Corpora- 
tion, 240  Appellate  Division  361. 
(270  New  York  Supplement  134.) 
Massachusetts     Bonding     Company 
vs.  Worthy  9  S.  W.  2nd,  388. 
In   the   present   case  the   Court   also 
cites: 

Wigmore  on  Evidence,  2nd  Edition, 
Section  798;  and  another  case  of 
Heiman  vs  the  Railroad  Company, 
21  Calif.  App.  2nd,  311. 

The  Court  in  the  decision  states: 
"That  photographs  may  be  admitted 
in  evidence  in  the  trial  of  cases,  espe- 
cially personal  injury  suits,  will  hardly 
be  questioned.  Moving  pictures  are  but 
a  series  of  single  pictures,  known  to 
everybody.  Each  single  picture  may  be 
properly  received  in  evidence,  and  it  is 
difficult  to  see  any  reason  why  moving 
pictures  may  not  be  admitted  in  evi- 
dence also.  It  is  our  conclusion  that  the 
proper  foundation  for  the  admission  of 
the  moving  pictures  in  evidence  was 
proven,  and  the  Court  properly  admit' 
ted  the  same  in  evidence." 

A  cine  camera  on 
the  "night  off" 

[Continued   from    page    158] 

film  rehearsals.  For  details,  call  Miss 
Hunt  at  La  Martinique.  Iceland  (the 
restaurant,  not  the  country  of  Reykja- 
vik) and  La  Conga  both  give  the  "green 
light"  to  amateur  movies  of  their  shows. 

A  quick  side  trip  along  famed  "Swing 
Alley,"  52nd  Street,  brings  us  to  a  high- 
ly popular  pumphouse  for  native  and 
visiting  firemen  alike — Leon  &  Eddie's. 
The  humor  is  broad  and  the  show  al- 
ways successful.  Here,  too,  you  may  film 
and  reload  your  camera  to  your  heart's 
content. 

The  Beachcomber,  in  the  Times  Square 
area,  fears  that  perhaps  the  publication 
of  this  article  will  bring  a  locust  like 
swarm  of  movie  makers  and,  conse- 
quently, will  permit  filming  in  its  tropi- 
cal atmosphere  only  on  Tuesdays.  An- 
other spot  near  by  which  looks  favor* 
ably  on  movie  making  is  Jack  Dempsey's 
Restaurant,  and,  unless  he  succeeds  in 
enlisting  in  the  armed  forces,  the  Mauler 
himself  will  greet  you  at  the  door. 

Swinging  back  momentarily  to  the 
hotels,  we  find  the  Taft  Grill  eager  to 
cater  to  aficionados  of  the  whirring 
shutter,  but  with  some  restrictions.  That 
is,  the  coast  is  clear  to  film  Vincent 
Lopez's  orchestra  there  only  on  Monday 
evenings  at  dinner,  from  8:30.  and  at 
weekday  lunches  from  2:00  o'clock  on. 
The  Blue  Room  of  the  Hotel  Lincoln 
and  the  Edison's  Green  Room  will  let 
you  take  movies  at  all  times. 

Then,  to  the  exquisite  delight  of  many 
readers,  the  great  news  is  that  you  may 
bring  your  camera  to  film  Benny  Good- 
man and  the  accompanying  ice  show  in 
the  Hotel  New  Yorker's  Terrace  Room. 


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This  version  of  the  stage  show  on  ice  is 
very  popular;  add  the  still  acknowledged 
"King  of  Swing,"  and  the  result  is 
a  fabulous  evening's  show  and  plenty  of 
cine  material. 

Finally,  a  dip  southward  brings  us  to 
Greenwich  Village  and  the  famed  night 
spot,  Cafe  Society.  This  mecca  for  lovers 
of  the  contemporary  3  B's  (boogie  woo- 
gie,  barrelhouse  and  the  blues)  looks 
favorably  upon  customers  with  movie 
cameras  in  both  this  and  its  uptown  site 
on  58th  Street.  As  your  foot  keeps  time 
to  the  songs  of  Hazel  Scott  and  the  re- 
nowned Golden  Gate  Quartet,  you  will 
long  for  a  small  portable  direct  sound 
recording  unit.  Jimmy  Kelly's,  in  the 
Village,  a  very  popular  late  spot,  also 
permits  movie  making. 

A  number  of  "hot  spots"  look  with 
varying  degrees  of  disfavor  on  the  movie 
camera.  Billy  Rose,  the  Mighty  Mite  of 
the  entertainment  world,  although  he 
cooperated  gladly  in  letting  people  film 
his  Aquacade  at  the  World's  Fair,  re- 
gretfully but  firmly  turns  "thumbs 
down"  on  movies  in  his  Diamond  Horse- 
shoe. The  elder  generation  cannot  pick 
a  better  spot  in  which  to  relive  the  Nos- 
talgic Nineties,  but  they  must  not  try  to 
capture  any  of  it  on  film.  Likewise,  the 
18  Club,  presided  over  by  the  irrepres- 
sible Jack  White,  says  "no"  to  movie 
makers,  on  the  grounds  that  visiting 
celebrities  don't  mind  being  made  fun 
of  (the  theme  of  the  18  Club),  but  they 
are  dead  set  against  anybody  having 
such  evidence  preserved  on  a  strip  of 
cellulose  acetate. 

Some  other  "night  spots,"  the  Copaca- 
bana.  Hurricane,  Havana-Madrid,  shake 
a  collective  head  on  movies  for  fear  of 
distressing  their  customers,  while  the 
fabled  Rainbow  Room  and  Grill  have 
their  own  photographers,  and  movies 
there  are  verboten.  However,  you  are  at 
liberty  to  film  the  superb  view  from  the 
windows  of  this  eyrie. 

This  listing  leads  up  to  a  general  dis- 
cussion of  etiquette  in  taking  movies  in 
night  clubs.  The  single  best  rule  to  fol- 
low is  to  be  considerate  of  others.  The 
do's  and  don'ts  may  seem  obvious,  but 
observance  of  them  may  easily  prevent 
an  unpleasant  episode.  It  is  a  good  plan 
to  be  perfectly  in  the  open  about  bring- 
ing your  camera  into  one  of  the  clubs 
which  have  given  their  consent.  A  word 
to  the  head  waiter  may  even  bring  you 
a  ringside  table. 

Once  seated,  it  is  the  urgent  request 
of  all  managements  that  you  remain 
seated  when  you  film.  Don't,  under  any 
circumstances,  try  for  an  interesting 
camera  viewpoint  by  standing  on  your 
chair!  You  can  expect  no  special  con- 
sideration simply  because  you  want  to 
take  movies.  Of  course,  it  should  be  ob- 
vious that  no  bulky  equipment  should  be 
brought  along;  leave  your  flood  lights 
at  home  and  forget,  just  this  once,  the 
ACL's  insistence  on  a  tripod.  We'll  un- 
derstand; after  all,  you  can  rest  your 
camera  on  the  table. 


The  squawk  about  shooting  the  other 
customers  is  perfectly  legitimate  too; 
don't  ask  the  waiter  if  that's  the  famous 
Tommy  Asbestos  across  the  floor,  be- 
cause, if  it  is,  you  will  want  to  film  him. 
Very  likely,  Mr.  Asbestos  doesn't  want 
to  be  filmed,  and  the  management  doesn't 
want  to  inconvenience  him.  Mr.  Z,  seen 
at  a  ringside  table  with  a  companion 
other  than  Mrs.  Z,  might  well  make 
things  difficult  if  he  saw  somebody  aim- 
ing a  camera  in  his  direction.  There  are 
several  recourses  open  to  anybody  who 
doesn't  want  his  image  imperishably  re- 
corded on  your  film,  and  they  are  all 
unpleasant.  Hence,  leave  the  customers 
alone  and  concentrate  on  filming  the 
band  and  floor  show. 

Technically,  you  will  be  agreeably  sur- 
prised at  what  a  lot  you  can  get  under 
difficult  light  conditions,  even  with  Ko- 
dachrome  (Type  A,  of  course).  It  is 
wise  to  take  a  fast  lens  (borrow  or  rent 
one,  if  necessary),  and  of  course  you 
can  shoot  at  eight  frames  a  second  if 
the  light  is  very  poor.  Don't  bother  with 
an  exposure  meter,  for  usually  you  can- 
not get  close  enough  to  the  subject  for 
an  accurate  reading,  and  spotlights  fill 
only  part  of  the  meter's  field.  A  one  inch 
//1.9  lens  will  capture  most  of  what  you 
want,  and  the  sensitivity  of  Kodachrome 
to  the  colors,  even  in  shadows,  will  de- 
light you. 

And  now,  the  clop  clop  of  the  milk 
wagon  is  heard,  for  dawn  is  breaking 
and  so  is  your  correspondent.  What  a 
night  it's  been,  but  what  a  comfort  those 
movies  will  be  in  our  bomb  shelters! 

Home  town  films 

[Continued  from  page  147] 

We  may  group  the  types  of  civic 
films  into  three  main  classifications — ■ 
general,  complete  and  impressionistic. 
To  amplify,  we  might  consider  the  gen- 
eral type  to  consist  of  a  short  summary 
of  the  main  points  of  interest,  the  chief 
industries  and  conventional  subjects, 
such  as  schools,  churches  and  parks. 
The  complete  type  would  actually  be  a 
further  development  of  the  general  cat- 
egory, in  that  it  would  give  a  visual 
resume,  in  detail,  of  the  same  headings. 
The  third,  or  impressionistic,  film  is  a 
little  more  difficult  to  produce  success- 
fully, for  its  aim  is  to  suggest  the  spirit 
of  the  city  through  cinematics  rather 
than  to  present  systematically  its  phys- 
ical aspects.  It  is  often  possible  to  in- 
clude material  of  this  type,  with  its  in- 
teresting viewpoints  and  symbolic  shots, 
in  the  more  conventional  treatment. 

A  few  scenario  suggestions  may  more 
clearly  identify  these  divisions.  In  the 
general  script,  we  should  probably  start 
with  a  shot  or  two  of  a  map,  to  locate 
our  city  clearly  in  its  relationship  to 
the  country  and  State  as  a  whole.  Se- 
quences of  the  town's  most  outstanding 
products  and  industries  might  then  fol- 


MOVIE    MAKERS 


171 


low.  At  the  conclusion  of  this  material, 
a  title  could  point  out  that  other  less 
known  products  are  completely  or  par- 
tially manufactured  in  our  city.  After 
covering  the  industries,  as  the  subject 
perhaps  most  familiar  to  the  spectator, 
a  title  or  a  transition  sequence  could 
swing  the  accent  to  the  civil  and  home 
life  of  the  community.  For  an  ending, 
turn  to  sequences  of  the  children,  their 
schooling  and  health  facilities  and  con- 
clude with  the  thought  that  these  young 
people  will  one  day  be  the  town's  fu- 
ture citizens. 

The  more  complete  film  would  show 
all  these  divisions  in  more  thorough 
fashion,  especially  in  that  more  factual 
data  would  be  included  in  the  title 
material,  even  to  charts  and  graphs,  to 
show  the  city's  relative  importance  in 
the  State  or  the  nation. 

In  the  impressionistic  film,  we  should 
use  a  well  chosen  angle  shot  or  a  short 
series  of  shots,  to  symbolize  the  picto- 
rial material  in  each  of  the  sequences 
in  the  more  complete  film.  For  ex- 
ample, where  the  conventional  film 
might  include  a  factory  sequence,  com- 
plete with  titles,  followed  by  a  scene 
of  a  freight  siding,  a  long  shot  of  lines 
of  freight  cars  ready  for  transit  and 
then  a  view  of  freight  trains  en  route, 
our  impressionistic  film  would  only  sug- 
gest the  same  subjects.  It  might  start 
with  a  shot  of  the  factory  name,  fol- 
lowed by  a  series  of  three  or  four  short 
shots  of  the  factory's  product.  This  sec- 
tion would  conclude  with  a  montage  se- 
quence of  closeups  of  car  wheels,  puf- 
fing engines  and  moving  freight  cars. 

The  titling  of  a  civic  film  is  extreme- 
ly important,  in  that  factual  material 
must  be  selected  carefully.  It  must  be 
remembered  that  too  many  exact  figures 
are  confusing  and  that  the  audience 
will  not  remember  them.  It  is  best  to 
keep  such  figures  in  round  numbers  or 
to  show  them  in  picture  or  symbolic 
form. 

The  editing  must  be  clean  cut  and 
compact.  The  subject  is  big  and  com- 


plicated, and  excessively  long  scenes 
will  not  only  cause  the  picture  to  drag, 
but  they  also  will  waste  footage  that  will 
be  needed  for  other  shots.  Let  us  keep 
in  mind  that,  in  our  picture,  we  are 
taking  a  total  stranger  on  a  tour  of 
our  city.  Some  things  he  will  find  in- 
teresting enough  to  observe  at  some 
length:  to  other  things  he  will  give  only 
a  passing  glance.  We  can  adapt  our 
editing  to  this  attitude  and  yet  at  the 
same  time  emphasize  the  things  in  our 
city  that  we  believe  to  be  most  impor- 
tant. 

A  plan  for 
surgical  filming 

[Continued  from  page  162] 

pital,  the  operator  removes  wedges  and 
folds  the  whole  structure  down  on  the 
base,  making  a  bundle,  eight  feet  long 
by  three  feet  wide  by  two  feet  thick. 
This  unit,  covered  with  a  canvas  carry- 
ing case,  can  be  transported  in  a  sta- 
tion wagon  or  on  a  trailer.  The  dolly 
can  be  folded  in  fifteen  minutes,  and 
the  total  weight  is  150  pounds. 

When  filming,  the  movie  maker  sits 
on  an  adjustable  seat  on  top  of  the 
dolly,  where  he  can  easily  control  the 
camera.  He  can  see  exactly  what  he  is 
filming.  The  danger  that  any  object 
might  fall  and  strike  the  patient  or  the 
surgeon,  who  are  directly  beneath  the 
camera,  is  overcome  by  a  large  plate 
glass  window,  through  which  all  pic- 
tures are  made  and  which  is  surround- 
ed by  a  metal  flange  to  which  a  draping 
sterile  sheet  is  tied.  This  sheet  is  held 
extended  for  two  feet  on  either  side  of 
the  dolly,  and  it  is  cut  to  fit  around  the 
window  with  a  drawstring.  It  reaches 
from  the  top  of  the  dolly,  along  the  un- 
derside, to  the  floor,  thus  protecting  the 
patient  from  contamination. 

All  lights  are  attached  to  the  dolly, 
and  they  are  controlled  by  switches  of 
the    mercury,     explosion     proof    type, 


1.       7 


".  .  .  BUT  WHERE'S 
THE  REST  OF  IT?" 

Do  they  ever  say  that  about 
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172 


APRIL    1942 


The    Dramatic    Romance 
That    Thrilled   a   Nation! 

ALGIERS 

Featuring 
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A    thrilling,    new    kind    of    adven- 
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This    is    only   one    of    the    parade 
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greatest      stars      and      pictures  — 
COMMONWEALTH   is   making 
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the  new  RENTAL  LIBRARY. 

For  complete  list — send  today  for 
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which  are  mounted  within  the  reach  of 
the  filmer.  All  receptacles  and  plugs 
are  polarized,  and  the  whole  dolly  is 
grounded.  A  single  main  electric  cable, 
leading  from  the  base  of  the  dolly  to 
the  nearest  floor  plug,  does  away  with 
the  necessity  of  numerous  wires. 

When  the  camera  is  placed  on  the 
dolly,  it  has  an  unobstructed  view  of 
the  operative  field.  The  camera  is  mov- 
able, and  it  may  be  set  in  any  desired 
position.  Its  field  of  vision  may  be  ad- 
justed by  the  use  of  different  lenses; 
the  wide  angle  lens  includes  the  whole 
table  and  the  surgeons,  the  four  inch 
lens  includes  a  field  of  approximately 
eight  by  ten  inches. 

In  using  Kodachrome  Type  A  film, 
one  must  take  great  care  to  secure 
proper  lighting.  I  have  found  that  near- 
ly all  the  standard  operating  room 
lights  give  an  improper  color  rendition 
with  this  film.  We  have  settled  upon  the 
following  combination,  which  gives  uni- 
formly good  results. 

For  illuminating  a  large  field,  we  use 
four  No.  2  flood  bulbs  in  Kodaflectors ; 
for  closeups  in  deep  abdominal  or 
thoracic  cavities,  we  use  one  or  two 
Castle  No.  40  Super  Standard  Spot- 
lights. This  set  of  lights  is  used  in  vari- 
ous combinations,  as  conditions  de- 
mand. The  Castle  lights  have  the  same 
color  correction  as  do  flood  bulbs.  All 
daylight  must  be  excluded  from  the 
room,  if  we  are  to  prevent  the  distres- 
sing bluish  tinge  which  daylight  gives 
to  Kodachrome  Type  A.  Middlesex  Gen- 
eral Hospital,  where  the  majority  of 
our  work  is  done,  has  fitted  its  three 
operating  rooms  with  lighttight  shades. 
In  other  hospitals,  we  cover  all  win- 
dows  carefully. 

As  focus  is  so  important,  we  use  a 
camera  that  is  equipped  with  a  reflex 
finder  direct  view  image  magnifier 
(Cine-Kodak  Special).  This  device  en- 
ables us  to  look  through  the  lens  that 
we  want  to  use,  with  that  lens  in  film- 
ing position;  thus,  we  are  assured  of 
the  correct  field  of  vision  and  accurate 
focusing. 

In  filming  operations,  it  is  unwise  to 
estimate  exposure  by  using  charts  based 
upon  the  number  of  lights  and  their 
distances  from  the  subject.  Too  many 
variable  factors  are  present.  The 
amount  of  light  that  is  obtained  from  a 
theoretically  standard  voltage  line  will 
be  found  to  vary  enough  to  ruin  impor- 
tant pictures.  The  reflecting  power  of 
the  subject  being  filmed  also  varies. 
The  reading  taken  before  the  operation 
starts  will  be  entirely  different  from 
that  obtained  from  structures  deep  in 
the  abdominal  cavity.  Accordingly,  we 
use  a  good  exposure  meter  and  make 
frequent  readings,  the  meter  being  held 
by  an  assistant  in  sterile  gown  and 
gloves. 

We  have,  under  construction,  at  our 
laboratory,  an  exposure  control  which 
will  be  automatic  and  which  will  be  at- 


tached directly  to  the  camera.  When  it 
is  in  use,  this  control  will  give  the  cor- 
rect exposure  and  will  set  the  camera. 

In  filming  minor  surgical  procedures 
and  most  office  treatments,  we  do  not 
use  the  dolly,  but  simply  set  the  camera 
on  an  ordinary  tripod  with  a  non  skid 
triangle  base.  Our  lights  then  are  ar- 
ranged on  a  single  stand  with  adjust- 
able arm  brackets. 

To  those  wishing  to  make  surgical 
movies  who  may  not  have  available 
such  extensive  equipment  as  we  use,  I 
suggest  an  arrangement  of  four  flood 
bulbs  in  Kodaflectors,  mounted  on  a 
single  heavy  tripod,  the  heavier  the  bet- 
ter. 

These  lights  should  be  adjusted  be- 
fore the  operation  starts.  I  should  ad- 
vise against  attempting  to  move  a  set 
of  lamps  which  is  standing  on  the  floor 
during  the  operation.  The  camera  can 
be  placed  on  a  stepladder  if  nothing 
better  is  available,  but  it  should  not  be 
placed  behind  the  surgeon.  The  welfare 
of  the  patient  is  of  much  greater  im- 
portance than  any  picture  that  you 
could  make.  Place  the  stepladder  be- 
hind the  anesthetist  and  shoot  over  her 
head. 

Check  your  exposure  whenever  there 
is  a  change  of  reflecting  surface,  as  in- 
dicated. Exclude  all  daylight  if  you  are 
using  color  film. 

Above  all,  don't  jeopardize  the  pa- 
tient's life,  by  interfering  in  any  way 
with  the  operating  crew. 

The  clinic 

[Continued  from  page  161] 

the  particular  camera  to  be  used.  A  hole 
should  be  bored  to  allow  the  tripod 
screw  to  reach  the  camera,  and  an  open- 
ing may  be  needed  to  allow  one  to  grip 
the  wheel  that  turns  the  tripod  screw. 
If  more  than  one  camera  is  to  be  used 
on  one  tripod,  separate  adapters  may 
be  made,  since  the  adapters  need  not  be 
fastened  to  the  tripod  top  and  hence 
are  easily  removable. 

Paraffin  title  stunt     For   a  title 

that  is  sym- 
bolic of  the  coming  of  spring,  here  is 
a  "stunt"  that  involved  nothing  more 
than  a  small  amount  of  ordinary  paraf- 
fin. Title  letters  may  be  cut  out  of,  or 
may  be  formed  from,  household  paraf- 
fin. Hold  the  letters  against  a  slightly 
warm  piece  of  glass  until  they  stick. 

In  this  system,  the  white  letters  rep- 
resent snow  or  ice.  The  glass  holding 
the  letters  is  fastened  upright  in  filming 
position;  after  sufficient  film  has  been 
exposed,  a  hot  plate  or  other  type  of 
heating  element  is  brought  into  posi- 
tion beneath  the  lower  edge  of  the  glass. 
This  heated  object  will  cause  the  letters 
to  melt  and  to  run  down,  leaving  clear 
glass,  which  would  reveal  a  still  picture 
of  spring  or  summer  that  had  been  put 
in  position  before  the  camera  was  start- 


MOVIE    MAKERS 


173 


ed.  Since  it  may  take  a  few  moments  for 
the  paraffin  to  melt  and  run,  it  is  ad- 
visable to  operate  the  camera  at  half 
speed,  to  increase  the  rate  of  action  and 
also  to  avoid  using  too  much  film.  If 
you  have  not  tried  this  "stunt"  before, 
you  might  rehearse  it  first  without  shoot- 
ing it. 

Synchronizing  sound  and  scene 

We  are  always  glad  when  an  article  in 
this  magazine  stirs  up  discussion  among 
our  readers,  and  we  only  regret  that  we 
do  not  have  space  to  publish  all  the  de- 
bates and  ideas  that  are  brought  forth. 
A  letter  from  W.  W.  Vincent,  jr.,  ACL, 
however,  inspired  by  the  article,  Special 
Projection  Aids,  in  February,  1942, 
Movie  Makers,  is  so  complete  that  we 
reproduce  it  herewith. 

Mr.  Vincent  begins,  "It  seems  to  me 
that  we  often  go  out  of  our  way  to  make 
a  thing  complicated  and  hard  to  do.  I 
have  synchronized  music  successfully 
from  a  record  with  a  projector,  by  using 
a  device  which  was  made  with  paper 
and  scissors  in  twenty  minutes.  These 
are  the  steps  that  I  follow: 

1.  Most  turntables  run,  or  should  run, 
at  a  speed  of  80  R.P.M. 

2.  Therefore,  the  turntable  turns 
1  1/3  times  a  second. 

3.  1  1/3  is  to  16  as  1  is  to  12. 

4.  Therefore,  the  stroboscopic  disc 
should  have  12  dark  segments,  evenly 
spaced.  I  made  such  a  disc. 

5.  I  placed  it  on  the  turntable  and 
turned  out  all  the  lights  in  the  room 
except  the  projector  lamp.  The  inter- 
mittent light  from  the  projector  gate, 
reflecting  back  from  the  screen,  walls 
and  so  forth,  should  make  the  segments 
appear  to  stand  still  when  the  turntable 
and  projector  are  synchronized. 

"I  went  through  the  foregoing  pro- 
cedure and  was  extremely  puzzled  for 
a  moment  when  it  did  not  work.  Then 
the  reason  dawned  on  me.  My  projector 
is  a  Bell  &  Howell,  and  the  shutter 
opens  three  times  for  each  frame.  With 
this  fact  in  mind,  I  multiplied  the  num- 
ber of  segments  by  three,  which  gave 
me  thirty  six  segments,  and  the  scheme 
worked  like  a  charm.  It  has  the  advan- 
tage of  enabling  you  absolutely  to  syn- 
chronize the  two  machines,  regardless  of 
the  speed  of  the  turntable. 

"For  example,  I  have  found  that,  when 
you  are  cutting  a  record,  it  turns  more 
slowly  than  when  you  are  playing  it 
back;  yet,  by  this  system,  I  am  able  to 
synchronize  the  two  machines  in  either 
case,  and  slight  differences  in  speed  do 
not  matter. 

"While  you  may  make  but  one  strobo- 
scopic disc  and  place  it  over  each  record 
as  you  use  it,  a  better  plan  is  to  glue  a 
separate  disc  to  each  record.  These  discs 
can  be  made  quickly  in  several  different 
ways. 

1.  Get  a  commercial  printer  to  print 
a  quantity. 

2.  Mark  out  one  disc  and.  instead  of 


making  segments,  punch  holes  in  it 
with  a  paper  punch.  Use  this  disc  as 
a  pattern  to  mark  out  others  and  punch 
holes  in  the  duplicates.  The  black  sur- 
face of  the  record  which  shows  through 
the  holes  in  the  white  paper  serves  as 
well  as  segments  and  leaves  the  center 
clear,  to  accommodate  any  written  iden- 
tification of  the  record. 

3.  Make  a  disc  and  then  photograph 
it  with  a  still  camera.  From  the  nega- 
tive, you  can  make  prints  whenever 
they  are  needed. 

"I  use  the  second  method  myself. 

"The  only  drawbacks  to  this  whole 
scheme  are: 

1.  All  lights  must  be  off  except  that 
of  the  projector,  which  must  be  operat- 
ing. 

2.  It  is  difficult  to  see  the  discs  until 
your  eyes  get  used  to  the  dim  light.  But. 
by  placing  the  turntables  ahead  of  the 
projector  so  that  the  beam  of  light 
passes  over  them,  you  will  have  suffi- 
cient illumination. 

"I  have  also  tried  a  variation  of  this 
idea,  by  using  two  sets  of  holes  or  seg- 
ments on  one  card,  one  set  of  thirty  five 
and  one  of  thirty  seven.  When  the  pro- 
jector is  synchronized  with  the  record, 
the  holes  appear  to  go  slowly  in  oppo- 
site directions.  Any  change  in  projector 
speed  will  make  them  appear  to  go  in 
the  same  direction.  I  have  not  made  up 
my  mind  which  method  is  the  better, 
but  I  have  a  hunch  that  the  moving 
holes  are  easier  to  see  in  a  dim  light 
than  are  those  that  are  stationary." 

Lettering  for 
your  titles 

[Continued  from  page  153] 

spacing  of  the  letters  in  example  B  has 
been  adjusted  to  suit  the  proportions  of 
the  characters.  You  will  see  that  less 
space  has  been  allowed  for  the  I,  where- 
as more  space  has  been  allowed  between 
the  M  and  the  0. 

Practice  lettering  several  words  and 
see  for  yourself.  You  will  soon  get  the  . 
"feel"  of  a  well  composed,  well  spaced 
word.  Watch  the  spacing  between  words, 
the  relation  of  complete  lines  to  each 
other  and.  finally,  the  relation  of  lines 
to  the  whole  space.  Leave  enough  space 
between  each  word  to  make  reading 
easy — not  too  much,  or  the  reader 
will  tire  his  eyes,  by  jumping  from  one 
word  to  the  other,  nor  too  close  lest 
the  words  run  into  each  other.  Always 
leave  enough  free  space  around  your 
title  lettering  on  which  the  eye  can  rest. 

Now  to  start  work  on  the  title.  Make 
several  rough  sketches,  like  those  shown 
at  the  right  on  page  153. 

We  shall  decide  upon  sketch  3  as  the 
layout  for  the  title.  It  contains  the  best 
elements  of  spacing  and  design.  Follow- 
ing your  rough  sketch,  rule  guidelines 
with  your  pencil,  for  the  height  of  your 


4  GREAT  HITS 
by  Hal  Roach 

•  THERE  GOES  MY  HEART 
Fredric  March,  Virginia  Bruce. 
Extra!  Dashing  reporter  clashes 
with  headstrong  heiress!  Does  he 
get  his  story?  Does  she  hold  on 
to  her  heart? 

JL-  TOPPER  TAKES  A  TRIP 

Constance  Bennett,  Roland 
Young.  A  beautiful  "ectoplasma- 
girl"  leads  Topper  a  merry 
chase!  Laughs!  Unusual  camera 
tricks. 

•  ZENOBIA  (An  Elephant  Never 
Forgets)  (available  May  1, 
1942) 
Oliver  Hardy,  Harry  Langdon, 
Billie  Burke,  Alice  Brady,  Hall 
Johnson  Choir.  Gay!  Original! 
Hilarious !  Has  Zenobia  a  pho- 
bia? 

•  CAPTAIN  FURY  (available  June 
1,  1942) 
Brian  Aherne,  Victor  McLaglen. 
Australia's  Robin  Hood  rides 
again — fighting  for  freedom,  in 
this  thrilling  adventure  tale.  Ac- 
tion! 

All  feature  length — in  16mm. 
Sound.  New  1942  Catalogue 
sent   on    request.    Write   today! 

POST  PICTURES  CORP. 

723  Seventh  Ave.,  Dept.  13,  New  York 


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MANSFIELD  Photo  Research  Labs. 

Dept.    MM4  701    S.   La   Salle  Chicago,    III. 


Disf 

inctive 

TITLES 

and 

expert 

EDITING 

For  the  Amateur  and  Professional 

16  mm.  —  8  mm. 

Black   &  White,   Tinted   and    Kodachrome 

Write  for 

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TITLING    SERVICE 
New  York,  N.  Y. 

SOUND  ON  FILM 

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FILM  WITH  AN  EXPERIENCED 
PROFESSIONAL  HOUSE.  WE 
USE  BERNDT-MAURER  EQUIP- 
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ARE  LOW. 

Price   list   free   on    request. 

SPOT    FILM 

PRODUCTIONS,    INC. 

339  EAST  48  STREET         N.  Y.  C. 


174 


APRIL    1942 


^Good,  Value  Offerings^ 

from  RABSONS 

SIMPLEX,    f:3.5,    excellent $16.50 

SIMPLEX,    f:1.9,    excellent 45. OO 

VICTOR    3,    f:2.9,    good 44. 50 

VICTOR    5    (old    style),    f:3.5,    case, 

good      

B&H   FILMO  70-A,  f:3.5,  case,  good. 

CINE-KODAK    B,    f:3.5,   good 

CINE-KODAK      BB      (50-ft.),     f:1.9, 

blue,     excellent    

KEYSTONE    A-7,    f:2.7,    excellent... 

KEYSTONE    B,    f:3.5,    excellent 18.75 

CINE     PERFEX     DOUBLE-8,     f:2.5, 

demonstrator     49. 50 

DEVRY    35mm.    STANDARD,    f:3.5, 

case,    excellent    75. OO 

Guaranteed  90  days.  Sold  on  10-day,  free- 
trial,  money-back  basis,  subject  to  prior  sale. 
Trades  accepted.  Tell  us  what  you  want  to 
trade  for  highest  trade-in  values.  Complete 
line  of  recognized  cameras,  projectors  and 
accessories  always  in  stock;  new  and  used. 
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Two  reels  each.  Songs  in  the  Crosby  manner. 

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In  seven   of  their  riotous  two  reelers. 

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lettering.  Next,  mark  off  the  spacing  for 
the  width  of  each  line.  Then,  still  with 
your  pencil,  "rough  in"  the  lettering, 
watching  carefully  the  various  charac- 
ters of  the  letters  themselves  and  of  the 
spacing  which  they  create.  If  you  are 
not  satisfied  the  first  time,  try  again. 
You  can  easily  erase  the  pencil  lines 
with  a  gum  eraser.  When  you  have  pen- 
ciled in  the  letters  as  you  want  them, 
you  are  ready  for  the  inking.  Using  a 
square  end  lettering  pen,  you  can  easily 
approximate  the  character  of  Lydian 
with  one  stroke.  When  your  lettering 
has  completely  dried,  erase  the  pencil 
lines,  and  you  are  finished. 

If  you  use  one  of  the  small  titlers, 
it  is  best  to  letter  your  titles  in  large 
size  and  to  reduce  them  by  means  of 
photography  or  photostats,  to  fit  your 
titler.  This  process  will  help  to  hide 
imperfections  in  the  letters. 

The  result  will  be  a  title  well  com- 
posed and  easily  read.  A  title  is  as  indi- 
vidual as  your  handwriting  and  as  per- 
sonal as  your  prized  movie  shots. 

Easter  at  home 

[Continued  from  page  155] 

Title.  And  so  the  day  passes  .  .  . 

38.  Medium  shot.  Mother  is  seated 
on  the  couch  between  the  boys,  reading 
a  bedtime  story. 

39.  Closeup.  Empty  baskets  are  at 
the  boys'  sides. 

40.  Closeup.  The  younger  lad  hugs 
a  bunny  as  he  listens  to  the  story. 

41.  Closeup.  The  book  that  Mother  is 
reading. 

42.  Semi  closeup.  The  older  boy 
nudges  his  brother,  saying: 

Title.  "Wake  up!  Donald  Duck  is 
catching  up  to  Peter  Rabbit!" 

43.  Closeup.  The  younger  boy  grad- 
ually opens  his  eyes  as  his  brother's 
hand  shakes  him.  He  speaks,  saying: 

Title.  "Who  cares!" 

44.  Semi  closeup.  Mother  ends  the 
story.  She  puts  the  book  down  on  a 
table  and  puts  her  arm  around  the  chil- 
dren, saying: 

Title.  "And  so  to  bed  .  .  ." 

45.  Closeup.  The  older  boy  stretches. 

46.  Medium  shot.  The  children  go 
slowly  up  the  stairs  to  bed. 

47.  Closeup.  The  older  boy  in  bed, 
fast  asleep. 

48.  Closeup.  The  younger  boy  in  bed, 
also  fast  asleep,  is  holding  his  Easter 
bunny  close  to  him.  Fade  out. 

This  script  can  be  adapted  to  fit  your 
family.  A  girl  can  be  substituted  for 
one  of  the  boys.  And,  if  Grandmother 
is  visiting,  by  all  means  include  her  in 
as  many  scenes  as  possible.  If  you  are 
pressed  for  time,  shoot  the  church 
scenes  on  Easter  Sunday.  The  sequences 
in  the  home  can  be  staged  later. 


STATEMENT  FROM 
DIRECTOR  OF  CENSORSHIP 

AMATEUR  photographers  were  re- 
minded recently  by  Byron  Price, 
Director  of  Censorship,  that  they  have 
an  important  part  in  keeping  vital  in- 
formation from  the  enemy. 

"The  Government  has  no  intention  of 
discouraging  picture  taking,"  Mr.  Price 
said,  "but  there  are  many  good  photo- 
graphic subjects  besides  fortifications, 
airports,  troop  transports  and  equip- 
ment of  the  armed  forces. 

"Even  the  private  circulation  of  many 
such  pictures  domestically  can  do  harm, 
and  of  course  no  military  pictures  can 
be  permitted  to  leave  the  country  un- 
less they  have  been  made  under  Gov- 
ernment supervision.  When  a  photo- 
graph or  a  film  is  stopped  by  censors  at 
the  border  it  is  wasted,  and  in  these 
days,  especially,  waste  is  unwise. 

"Camera  clubs  have  expressed  a  de- 
sire to  cooperate  in  avoiding  the  taking 
of  photographs  of  a  military  nature. 
Their  patriotic  understanding  is  highly 
commendable. 

"Detailed  information  about  the  han- 
dling of  all  types  of  films  by  interna- 
tional mail,  freight,  or  express  is  being 
prepared  and  will  be  made  public  soon. 

"The  Office  of  Censorship  has  re- 
ceived many  inquiries  as  to  why  news- 
papers, magazines  and  newsreels  pre- 
sent pictures  of  such  scenes  as  army 
camps,  warships  and  plants  where  war 
supplies  are  being  made. 

"I  believe  there  is  little  real  cause 
for  apprehension.  These  pictures  nor- 
mally have  been  approved  in  advance 
by  the  Government  for  publication  in 
order  to  show  the  American  people 
what  the  armed  services  are  doing  and 
what  American  factories  are  producing. 
They  have  been  closely  inspected  to 
make  certain  that  they  contain  no  de- 
tails which  the  enemy  might  like  to  see. 
Editors  voluntarily  are  making  a  care- 
ful check  on  the  photographs  they  use. 

"It  must  be  remembered  also  that 
until  the  Japanese  attack  on  Pearl  Har- 
bor last  December  7.  there  were  no  lim- 
itations on  the  mailing  of  pictures  to 
foreign  countries.  It  would  be  futile  to 
ask  American  editors  not  to  print  pho- 
tographs which  could  have  been  taken 
before  that  time,  for  the  enemy  unques- 
tionably has  the  information." 


BETTER  TAKE  MORE 
We  often  see  travel  films  in  which 
are  two  shots  of  New  York,  one  of 
Chicago,  one  of  Denver  and  then  sud- 
denly one  of  California.  These  flashes 
make  poor  continuity.  Make  at  least 
six  or  seven  well  chosen  shots  at  each 
place  that  you  film  and,  if  possible, 
get  a  few  transition  shots  of  trains  or 
cars,  to  bridge  the  gaps  of  geography 
and  time. 


MOVIE    MAKERS 


175 


Practical  films 

[Continued  from  page  163] 

theatrical  distribution  in  both  Amer- 
icas, while  the  Office  of  Inter-American 
Affairs  takes  care  of  the  non  theatrical 
circulation  in  South  America. 

"Here  is  Tomorrow" 

Under  this  title,  the  first  sound  film 
about  the  consumer  cooperatives  of 
America  had  its  premier  showing  in 
Washington,  D.  C,  on  January  6.  This 
record  film  tells  how  two  million  citi- 
zens have  gone  into  business  for  them- 
selves and  have  solved  their  economic 
problems  without  government  or  other 
outside  aid.  Ordinary  consumers  have 
built  their  own  stores,  service  stations, 
farm  supply  depots,  warehouses,  insur- 
ance companies,  hatcheries,  factories, 
refineries  and  oil  wells.  The  Coopera- 
tive League  of  the  USA  sponsored  the 
movie,  produced  by  Herbert  Kerkow 
and  Willard  Van  Dyke  of  Documentary 
Film  Productions.  Roger  Barlow  was 
chief  cameraman,  David  Forrest  was 
script  writer  and  Irving  Lerner  was 
film  editor. 

News  From  Bailey 

A  new  bulletin  of  films  for  national 
defense  is  announced  for  free  distribu- 
tion by  Bailey  Film  Service  of  Holly- 
wood, Calif.  These  movies  show  how 
government,  industry  and  the  private 
citizen  cooperate  in  the  advancement 
of  America.  The  sixteen  films  are 
grouped  under  four  heads:  Govern- 
ment and  Leaders,  Industry  and  Pro- 
duction, Planes  and  Ships  and  John 
Doe,  Citizen. 

Bailey  also  reports  that  it  is  now  of- 
fering for  purchase  or  rental  by  edu- 
cational groups  a  Kodachrome  film  of 
modern  Russia,  stressing  the  many  dif- 
ferences between  Czarist  Russia  and  the 
U.S.S.R.  of  today. 

Painless  Geometry 

Made  for  Dr.  Frederic  Thrasher's 
cinema  course  at  New  York  University 
is  Community  Patterns  of  Geometry,  a 
300  foot  color  film,  pointing  out  the 
many  geometric  shapes  that  are  found 
in  our  everyday  life.  The  geometry 
class  of  the  Darien  (Conn.)  Senior 
High  School  presented  the  movie,  su- 
pervised by  Arthur  S.  Bibbins.  In  a 
simple  and  clear  cut  manner,  the  movie 
first  shows  a  closeup  of  a  geometric 
shape,   followed  by  an  example  of  its 


Defense  Housing 

The  erection  of  977  houses  in  the  in- 
credibly short  time  of  sixty  five  days  is 
the  subject  of  the  2200  foot  sound  film, 
A  City  Rises  Overnight,  made  by  the 
Photo  Art  Company,  of  Trenton,  N.  J., 
for  The  Homasote  Corporation  of  the 
same  city.  The  Mare  Island  shipyards, 


near  Vallejo,  Calif.,  were  awarded 
large  government  contracts,  and  there 
arose  an  immediate  need  for  greatly  in- 
creased housing  facilities.  Here,  the 
Homasote  Corporation  moved  in  with 
its  scheme  for  "precision  built  houses," 
prefabricated  by  an  assembly  line  tech- 
nique. The  incredible  day  by  day  prog- 
ress of  these  houses  is  fascinating  to 
watch.  Bill  North  did  the  camera  work 
and  the  Film  &  Sound  Company,  of 
San  Francisco,  made  the  sound  track. 
Vaux  Wilson,  vicepresident  and  treas- 
urer of  Homasote  Corporation,  wrote 
the  script,  while  John  E.  Kahle,  jr.,  of 
the  same  company,  edited  the  film.  Mr. 
Kahle  is  also  handling  the  distribution 
of  the  movie. 


Amateur  clubs 

[Continued  from  page  159] 

Morris  Baker,  ACL;  Western  Interlude, 
by  Arthur  Elliott,  ACL.  All  films  were 
presented  with  narrative  and  music  on 
the  double  turntable. 

In  Milwaukee  Feature  attraction 
at  a  late  meeting 
of  the  Amateur  Movie  Society  of  Mil- 
waukee was  the  screening  of  Linda,  Ten 
Best  award  winning  family  film  in  1941, 
produced  by  Richard  Fuller,  ACL,  of 
that  city.  The  club  had  Mr.  and  Mrs. 
Fuller  as  its  guests  at  the  meeting. 
Other  items  on  A. M.S.  programs  have 
included  Title  Making  the  Victor  Way, 
a  discussion  by  Elmer  Mohaupt;  Lap 
Dissolves  with  the  Magazine  8,  by  Joe 
Friedman;  Making  a  Wide  Angle 
Viewer,  by  Elmer  Klug;  What  the 
Future  holds  for  the  Amateur  Movie 
Maker,  by  Carl  Forbes.  New  officers  for 
1942  have  been  announced  as  follows: 
Eugene  H.  Millmann,  ACL,  president; 
Don  Schaber,  first  vicepresident;  Mr. 
Klug,  second  vicepresident;  Mrs.  Wil- 
liam Rheingans,  secretary;  Robert  E. 
Lees,  treasurer. 

Brooklyn  show  The  Brooklyn 
Amateur  Cine 
Club,  ACL,  with  headquarters  at  the 
Hotel  Bossert,  announces  its  annual 
screening  of  outstanding  amateur  films, 
to  be  held  in  the  St.  Felix  Theatre,  on 
April  10.  Tickets  may  be  obtained  from 
Martin  Sternberg,  159  Tompkins  Ave- 
nue, Brooklyn,  N.  Y.,  at  fifty  five  cents 
each,  including  tax.  There  will  be  no 
standing  room  allowed. 

San  Francisco  set    Meeting    in 

their  now  per- 
manent headquarters  in  the  Women's 
City  Club,  members  of  the  Cinema 
Club  of  San  Francisco  gathered  recent- 
ly for  an  interesting  and  varied  pro- 
gram of  film  fare.  Campfire  Girls,  a 
16mm.  Kodachrome  sound  on  film  pro- 
duction by  F.  W.  Macondray.  was  fea- 
tured on  the  club's  screen,  followed  by 


Now  You  Can  Take 
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Now  at  last  you  can  get  make-up  specially 
developed  for  your  black-and-white  photogra- 
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movie-quality  pictures  and  save  retouching! 

Hampden's  Photographic  Make-up  is  a  com- 
plete easy-to-use  kit  for  all  your  make-up 
needs.  It  comes  in  the  new  stick  form  with 
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Save  time,  trouble,  wasted  film  and  have 
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176 


APRIL    1942 


Virginia  City  Excursion  and  Snow  Bun- 
nies, by  Lawrence  J.  Duggan,  ACL,  and 
Livermore  Rodeo,  by  A.  H.  Kleyn.  At 
an  earlier  meeting,  the  Cinema  Club 
members  saw  the  four  award  winning 
films  in  the  recent  annual  contest  of 
the  neighboring  Westwood  Movie  Club, 
headed  by  Henry  Swanson's  comedy. 
Wedded  Blisters. 

Trenton  sees  H.  P.  M.  winner 

Gathering  in  the  city's  Hotel  Hilde- 
breoht  for  their  Sixth  Annual  Dinner, 
members  and  guests  of  the  Trenton 
Movie  Makers  saw,  as  the  feature  at- 
traction on  a  gala  program,  Hail,  Brit- 
ish Columbia!,  Maxim  Award  winner 
in  1941.  Leo  J.  Heffernan,  ACL,  the 
producer,  and  Mrs.  Heffernan  were 
guests  of  honor  of  the  club.  Rounding 
out  the  program,  all  of  which  was  pre- 
sented with  musical  accompaniment, 
were  two  members'  films — In  The 
Springtime,  by  R.  James  Foster,  ACL, 
and  Sun  and  Fun,  by  Charles  R.  Dob- 
bins, ACL.  Committee  chairmen  for  the 
dinner  included  George  W.  Guthrie, 
ACL,  reception  and  printing;  Stephen 
C.  Kovacs,  program  and  decorations; 
Harold  E.  Cranmer,  tickets  and  finance; 
Dean  H.  Ashton,  ACL,  publicity;  Mr. 
Foster,  arrangements;  Roger  R.  Bell, 
prizes;  J.  George  Cole,  ACL,  entertain- 
ment; Jules  Y.  Shein,  ACL,  ex  officio. 
Dr.  L.  Samuel  Sica  presided. 

Pittsburgh  paper  Screen  Reflec- 
tions, a  club 
news  bulletin,  and  new  officers  for  1942 
have  been  announced  recently  by  th<? 
Pittsburgh  Amateur  Cinema  Club,  ACL. 
according  to  Mrs.  Hilda  Evans,  corres- 
ponding secretary.  Members  of  the 
board  are  E.  M.  Cavitt,  president; 
Barney  Rogan,  vicepresident;  Rose 
Goldman,  secretary  treasurer,  and  Mrs. 
Evans.  Recent  meeting  activities  of  this 
Pittsburgh  group  have  included  a  cine 
quiz,  a  discussion  by  Ross  M.  Gridley, 
ACL,  Picture  Composition  for  the  Ama- 
teur, illustrated  with  colored  slides,  and 
a  club  bowling  party. 

News  of  the  industry 

[Continued  from  page  164] 

usual  demand  has  made  this  new  ver- 
sion necessary.  This  booklet  offers  an 
easy  method  of  locating  a  film  dealing 
with  any  particular  subject,  and  it  is 
valuable  to  individuals,  institutions, 
government  departments  and  similar 
users  of  silent  and  sound  pictures.  It 
may  be  obtained  from  the  Victor 
Animatograph  Corporation,  Davenport, 
Iowa,  at  fifty  cents  a  copy. 

Castle  war  film     Claimed  to  be  the 

first   8mm.    and 

16mm.   movies  which   show  Americans 

in  actual  battle  action  against  the  Japa- 


nese, a  timely  new  film,  U.  S.  Navy- 
Blasts  Marshall  Islands!,  is  currently 
released  by  Castle  Films,  Inc.,  30 
Rockefeller  Plaza,  New  York  City.  This 
exciting  subject  shows  real  war  action 
and  will  be  eagerly  sought  because  of 
its  presentation  of  the  kind  of  retalia- 
tion shown  in  offense.  Preparations  for 
the  assault  on  the  Marshall  Islands  are 
shown  as  the  fleet  sails  toward  this  bat- 
tle in  the  Pacific.  An  enemy  cruiser  and 
aircraft  carrier  are  seen  being  hit  and 
sinking  in  breath  taking  shots  of  aerial 
combat.  This  exciting  film  is  available 
in  8mm.  silent  and  16mm.  silent  and 
sound  in  regular  Castle  lengths  and 
prices. 

DllPont  moves  According  to  a  no- 
tice recently  re- 
ceived, it  is  announced  that  the  execu- 
tive and  sales  offices  of  the  photo- 
graphic branch  of  the  DuPont  com- 
pany are  to  be  located  in  Wilmington, 
Del.  All  communications  may  be  ad- 
dressed, therefore,  to  E.  I.  DuPont  de 
Nemours  &  Company,  Photo  Products 
Department,  in  Wilmington. 

Mansfield  trial  offer  The  Mans 

field  Photo- 
tints,  well  known  for  tinting  black  and 
white  movie  films  and  35mm.  slides,  are 
now  available  in  a  special  introductory 
trial  size.  This  kit  includes  six  trial  cap- 
sules in  blue,  brown,  green,  purple,  red 
and  yellow,  and  it  may  be  had  for 
twenty  five  cents  from  Mansfield  Photo 
Research  Laboratory,  701  South  La 
Salle  Street,  Chicago. 

Flektrol  Polaroid  filters  Anew 

and  high- 
ly efficient  type  of  polarizing  filter  has 
been  made  available  by  the  Pio- 
neer Scientific  Corporation,  Empire  State 
Building,  New  York  City.  These  filters 
are  made  of  Polaroid  and  will  be  avail- 
able in  three  types.  The  first,  or  Type 
H-A.  offers  the  highest  photographic 
and  polarization  quality  that  it  is  pos- 
sible to  obtain.  The  medium  is  free 
from  color  distortion  and  is  mounted 
between  precision  glass  surfaces  for  the 
finest  results.  The  Type  H-B  filters  are 
identical  with  Type  H-A  except  that 
the  ultimate  standard  of  precision  in 
grinding  the  glass  surface  is  not  main- 
tained. The  Type  J  filters  are  for  use 
with  black  and  white  films  only.  The 
new  Flektrol  filters  are  available  in 
many  different  sizes  and  in  mounts  for 
use  on  movie  and  still  cameras. 

Agfa  work  prints    A  new  item  of 

laboratory  ser- 
vice, which  will  be  of  great  value  to 
the  increasing  need  for  efficiency  in 
editing  procedure,  is  offered  by  the  New 
York  City  laboratory  of  Agfa  Ansco, 
245  West  55th  Street.  The  new  service 
will  be  known  as  "Work  Print"  and 
will  consist  of  reversal  duplicates  made 


-_ 


Teitel's  Toning  Capsules  will 
tone  any  black  and  white  film 

from  16mm.  reversal  black  and  white 
or  color  originals.  This  work  print  is 
then  used  for  editing,  at  the  conclu- 
sion of  which  the  original  film  may  be 
cut  to  match.  Because  picture  projec- 
tion quality  is  not  paramount  on  work 
prints,  the  emulsion  used  is  other  than 
regular  duplicating  stock.  The  work 
print  is  identified  by  a  thin,  diagonal 
hairline  across  each  frame.  The  cost  is 
$2.50  a  hundred  feet,  including  excise 
tax. 

Regular  duplicates  are  made  in  this 
laboratory  with  a  separate  light  control 
for  each  scene,  to  get  best  results.  This 
light  control  is  effected  automatically 
by  a  notch  in  the  edge  of  the  film  at 
the  beginning  of  each  scene.  These 
notches  do  not  interfere  with  projec- 
tion; but,  for  those  who  wish  to  have 
duplicates  of  their  originals  without 
notching,  there  is  a  "One  Light  Dupli- 
cate" service  available.  The  cost  is  $3.48 
a  hundred  feet,  including  excise  tax. 

Commonwealth  rents    Because 

of  the  re- 
ceipt of  so  many  requests  from  home 
movie  showers,  schools,  dealers  and 
other  film  users,  a  new  sound  on  film 
rental  library  has  been  installed  by 
Commonwealth  Pictures,  729  Seventh 
Avenue,  New  York  City.  Heretofore, 
the  film  subjects  featured  by  this  firm 
were  for  outright  sale  only.  The  new 
rental  library  includes  many  entertain- 
ment, educational  and  religious  sub- 
jects. Commonwealth's  first  library  cata- 
log has  just  been  issued  and  will  be 
sent  on  request. 

AutopOSitive  A  new  enlarging  pa- 
per, which  operates 
on  the  same  principle  as  does  reversal 
film,  has  been  made  available  by  the 
Eastman  Kodak  Company,  Rochester, 
N.  Y.  It  is  offered  for  making  direct 
positives,  by  enlargement  or  by  contact 
printing,  from  still  Kodachrome  or 
black  and  white  positive  transparencies. 
Thus,  it  may  be  used  to  obtain  direct 
black  and  white  prints  from  movie 
frame  originals,  if  desired.  Kodak  Auto- 
positive  paper  can  easily  be  processed 
according  to  directions  furnished,  using 
Kodak  chemicals.  A  package  of  one 
dozen  sheets  in  the  five  by  seven  inch 
size  sells  at  forty  two  cents. 


„  v  ,  ,•'£,  ...«Q Li...    W      ..U. &.. .     U  ■>  ..  U:,     :U        v ___ _._ 


|  Cash  required  with  order.  The  closing  date  for 
the  receipt  of  copy  is  the  tenth  of  the  month  pre- 
ceding issue.  Remittance  to  cover  goods  offered 
for  sale  in  this  department  should  be  made  to  the 
advertiser  and  not  to  Movie  Makers.  New  classi- 
fied advertisers  are  requested  to  furnish  references. 

|  Movie  Makers  does  not  always  examine  the 
equipment  or  films  offered  for  sale  in  CLASSI- 
FIED ADVERTISING  and  cannot  state  whether 
these  are  new  or  used.  Prospective  purchasers 
should  ascertain  this  fact  from  advertisers  before 
buying. 


10  Cents  a  Word 


Minimum  Charge  $2 


0  Words  in  capitals,  except  first  word  and  name, 
5  cents  extra. 


EQUIPMENT  FOR  SALE 

■  BASS  SAYS:  We  deliver  the  goods.  New  or 
used  equipment  in  abundance  at  prices  to  suit  your 
purse.  USED  CAMERAS:  8mm.  Keystone,  f/3.5 
lens  and  case,  $21.50;  8mm.  Keystone,  f/2.7  lens 
and  case,  S25.50;  8mm.  Cine-Kodak,  f/3.5  lettis, 
523.50;  8mm.  Revere  Double  8,  Bausch  &  Lomb 
f/3  lens,  $34.50;  16mm.  B.  &  H.  Model  75,  Cooke 
//3.5  lens,  S34.50;  16mm.  B.  &  H.  70A,  //3.5 
Cooke,  S44.50;  16mm.  B.  &  H.  Model  121.  Cooke 
//2.7  lens,  S57.50;  16mm.  B.  &  H.  Model  121 
Magazine,  1"  //1.8  focusing:,  S77.50;  16mm.  B.  & 
H.  70DA,  1"  r/1.8  Cooke,  20mm.  //3.5  Cooke 
and  3"  r/4  Wollensak.  case,  S235.00;  16mm.  B.  & 
H.  Automaster,  1"  //2  Xenon,  2"  //2.8  Acura, 
15mm.  //2.7  wide  angle,  case.  $272.50;  16mm. 
Victor,  1"  //2.7,  S47.50;  16mm.  Victor  3.,  1" 
Cooke  focusing  mount,  1"  //1.5  Wollensak,  3" 
;/4  Wollensak,  turret  model,  S125.00;  16mm. 
Simplex  Magazine,  Kodak  f/1.9  focusing  mount. 
S62.50;  16mm.  Cine-Kodak  B,  //1.9  focusing 
mount,  $47.50;  16mm.  Cine-Kodak  Magazine, 
f/1.9  focusing,  SS7.50;  16mm.  Movikon,  Sonnar 
//1.4,  coupled  range  finder,  case.  $295.00.  RARE 
CINE  LENSES:  50mm.  Meyer  Plasmat  //2.7, 
focusing-  C  mount,  S63.50:  25mm.  Plasmat  //1.5, 
C  mount,  S67.50;  4$4"  Meyer  Trioplan  //2.8, 
focusing'  C  mount.  $85.00;  50mm.  Meyer  Plasmat 
f/1.5,  focusing  C  mount,  $87.50;  334"  Cooke 
f/3. 3,  focusing  C  mount,  $87.50;  6"  Cooke  Tele, 
/74.5.  focusing  C  mount,  S92.50;  6"  Meyer  Tele- 
Megor  f/4,  focusing  C  mount,  $95.00.  USED 
PROJECTORS:  16mm.  B.  &  H.  57A,  400  watt 
lamp  and  case,  S50.00;  16mm.  B.  &  H.  57GG, 
375  watt  75  volt  lamp,  800  ft.  capacity,  case, 
$68.50;  16mm.  B.  &  H.  Auditorium,  1200  watt, 
1600  ft.  capacity,  2"  //1.6  lens  and  case.  S2S5.00. 
USED  SOUND  PROJECTORS:  16mm.  RCA 
PG-70,  750  watt,  10  watt  output,  $225.00;  16mm. 
Victor  Animatophone  33,  750  watt  lamp,  10  watt 
output,  1600  ft.  speaker  and  case,  $217.50.  Lim- 
ited number:  Discontinued  new  model  Craig  Jr. 
16mm.  animated  Editor,  Splicer  and  Rewind,  reg- 
ularly $31.50;  our  price  $23.65.  Send  for  latest 
revised  complete  price  list  of  Cine  Apparatus  just 
out.  BASS  CAMERA  COMPANY,  Dept.  CC,  179 
YV.  Madison  St.,  Chicago,   111. 

I  MODEL  22  Victor  16mm.  projector,  like  new, 
750  watt,  1600  ft.  capacity,  fast  rewind,  reverse, 
stills,  $125.00.  R.  H.  HERROX,  16516  Ward 
Ave.,  Detroit,  Mich. 

■  E.  M.  BERNDT  AURICON  16mm.  Sound 
o'n  Film  Recorder,  with  noise  reduction  circuit. 
List  price,  $695.00.  Display  Model,  $495.00,  less 
microphone.  If  there  is  anything  you  can't  obtain 
elsewhere,  write  us.  BYRON'S,  Inc.,  625 — 15th 
St.,  N.   W.,   Washington,   D.   C. 

■  FULL  LIST  PRICE  ALLOWED  FOR  YOUR 
MODEL  20  Cine-Kodak  on  Magazine  Cine-Kodak 
Eight;  for  your  Model  20  or  25  Cine-Kodak  on 
Perfex  Magazine  Eight;  for  your  Revere  //3.5 
on  Revere  Turret;  for  your  Model  50  Kodascope 
on  Revere  projector;  for  your  A8  Keystone  on 
Bell  &  Howell  or  Ampro  projector;  for  your 
Magazine  Cine-Kodak  Eight,  your  8mm.  Revere 
or  8mm.  Bell  &  Howell  on  Bolex  camera.  CAM- 
ERAS AS  NEW:  Bell  &  Howell  70-D,  bronze 
finish,  f/1.5  lens,  S175.00;  16mm.  Bolex,  //1.4 
Hektor  lens,  $275.00;  Bell  &  Howell  70.  with 
attached  turret,  bronze  finish,  //1.8  Cooke,  S95.00; 
Smm.  Bolex,  f/1.9  lens,  $195.00;  8mm.  Bolex, 
f/1.5  lens,  $275.00.  Telephoto  lens  for  Model  20 
or  25  Cine-Kodak,  only  $22.50.  Write  for  liberal 
allowances  for  vour  present  equipment.  NA- 
TIONAL CAMERA  EXCHANGE,  Established 
in  1914,   11  So.   Fifth  St.,  Minneapolis,  Minn. 

■  SLIGHTLY  used  Auricon  16mm.  sound  film 
recording  camera  and  amplifier,  new  model.  Com- 
plete, $675.00.  MARSH  CINESOUND,  Inc.,  17 
W.   60th  St.,  New  York,  N.  Y. 

■  VICTOR  16mm.  Sound  on  Film  Projector, 
good  condition,  $150.00.  Also  Simplex  Magazine 
loading  16mm.  camera.  //3.5  lens.  S40.00.  DORIS 
WEBER.  Webster,  New  York. 

Printed  by  WNU.  N.  Y..  in  the  U.  S.  A. 


I  LIKE   new:   Filmo,   spider   turret,   focusing   1" 

13  5,    1"    //1.5,    4"    //4,    §185. 00;    Filmo    70A, 

/3.5,    $33.00;    Victor    3,    //2.9,    $49.50;     Filmo 

ag.    121,    //3.5,    $45.00;    f/1.5,    $70.50;    Mag. 

ne-Kodak  &  case,  $79.50;  Stewart-Warner  16mm., 

3.5,    case,    $13.50;    Keystone    16mm.    Model    A, 

3.5,  case,  $14.50;  Filmo  8  Sportster,  //2.5. 
1.00;  Filmo  8  Turret,  Windback,  f/2.5,  1" 
2.9,  focusing  model,  $115.00;  Revere  88,  //2.5, 

S38.50;    Perfex    Turret,    //2.5,    $47.50;    Keystone 
oj.,   500   watt,   //2.5,   $39.50;   A   81,   750   watt, 

1.6,  $57.50;   Kodascope  B  Automatic,  300  watt, 
&  54"  lens,  case,  $47.50;   DeVry  16mm.  proj.. 

00  watt,  case,  S24.50;  Kodascope  C,  100  watt, 
'1.50;  Revere  88,  500  watt,  de  luxe  &  case. 
9.50;  Kodascope  8  Model  20,  $19.50;  8  &  16mm. 
enses;  or  will  trade  for  35mm.  motion  picture 
equipment.  CAMERA  MART,  70  WEST  45th  ST., 
"    Y.   C. 


—-.»  W  W  W   W    ' 


COMPLETE  your  FILE 
of 

MOVIE  MAKERS! 

AT  A  SPECIAL  PRICE 
15C 

a  copy 

Only  a  limited  amount 

available    of    numbers 

listed 

1926:  December 
1927:  All  months 
1928:  All  months 
1929:  All  months 
1930:  All  months 
1931:  All  months 
1932:  All  months 
1933:  All  months 
1934:  All  months 
1935:  All  months 
1936:  All  months 
1937:  January 

February 

April 

June 

August  to 

December 
1938:  All  months 
1939:  All  months 
1940:  All  months 

15C 

a  copy 

when  the  supply  set  aside  for 
this  sale  is  exhausted  these 
numbers  of  MOVIE  MAKERS 
will  be  available  only  at 
regular  back  number  prices 
of  35  and  50  cents 

Include  Cash    With   Order 

MOVIE  MAKERS 

420  Lexington  Avenue 
New  York,  New  York 


■  16MM.  ZEISS  Movikon,  Sonnar  //1.4,  like 
new,  $275.00;  16mm.  Bell  X:  Howell  Autoload 
Master,  turret,  //2.7  lens,  like  new,  $159.50; 
brand  new  16mm.  Yictor  4  with  like  new  Kodak 
//1.9  lens,  S104.50;  16mm.  Bell  &  Howell  70E 
with  //3.5  Cooke,  excellent,  S49.50;  16mm.  Maga- 
zine Kodak  with  f/1.9  lens,  like  new,  $79.50; 
AURICON  SOUND  ON  FILM  RECORDER, 
like  new,  $625.00;  Smm.  Kodascope  33,  500  watt, 
like  new,  $39.00;  Smm.  Revere  88  camera,  //3.5 
lens,  like  new,  $29.50;  16mm.  Bolex,  Eastman 
//1.9  lens,  like  new,  $197.50;  8mm.  Bolex,  with 
f/1.9  lens,  like  new,  $199.50;  16mm.  Keystone  A  7 
with  //2.7  lens,  like  new,  $34.50;  CAMART 
PROFESSIONAL  TRIPOD,  regularly  $85.00, 
equal  to  new,  $64.50;  2"  Eastman  f/1.6  telephoto 
lens,  like  new,  S69.50.  SALE  OF  FILM  FROM 
OCR  RENTAL  LIBRARY,  8mm.  complete  edi- 
tion, S3. 75;  16mm.  complete  edition,  $6.00;  16mm. 
sound  de  luxe,  $12.00.  Most  Castle,  Official  and 
Fireside  subjects  available;  limited  quantity;  con- 
dition of  all  these  films  is  perfect.  Complete 
stock  of  8  and  16mm.  movie  cameras,  projectors, 
lenses  and  accessories.  Many  bargains  in  sound 
projectors.  Write  for  new  bargain  list.  HABER 
&  FINK,  INC.,  12  Warren  St..  New  York  City, 
BArclay   7-1230. 

|  HOLMES  16mm.  sound  proj.,  type  12,  me- 
chanically as  new,  cases  shop  worn,  $315.00.  Like 
new  Eastman  E,  f/1.9  camera,  $55.00.  FRANK- 
LIN DAVIS,  Ocilla,  Georgia. 

■  FOR  SALE:  Eastman  Cine  Special,  f/1.9  lens, 
extra  magazine,  carrying  case.  Very  little  used. 
Price  $325.00.  Write  L.  J.  FRANKEL,  P.  O. 
Box   1195,   Charleston.   W.   Va. 

FILMS   FOR  EXCHANGE 

■  EXCHANGE:  Silent  pictures,  SI. 00  reel. 
Finest  sound  film  programs,  rent  reasonable;  also 
sell.  CINE  CLASSIC  LIBRARY,  1041  Jefferson 
Ave.,  Brooklyn,  N.  Y. 

■  SOUND,  silent  films  exchanged,  rented, 
bought;  8  &  16mm.;  always  bargains.  Get  on  our 
list.   FRANK   LANE.  SO   Boylston,   Boston,  Mass. 

■  8MM.  FILMS!  Castle  releases.  50  ft.  180  ft. 
New  prints.  Good  used  prints.  Sales.  Exchanges. 
Trade-ins.  RIEDEL  FILMS,  Dept.  MM-442,  2221 
W.  67th  St.,  Cleveland,  Ohio. 

FILMS    FOR   RENTAL   OR    SALE 

■  MONEY  maker!  "The  World's  Greatest  Pas- 
sion Play.*'  16mm.  and  35mm.  sound  or  silent. 
Purchase  or  rent  everywhere.  Superior  to  Ober- 
ammergau  play.  Write  HEMENWAY  FILM  CO.. 
33-B  Melrose  St.,   Boston,  Mass. 

■  8MM-16MM.  Sound  and  silent  films,  projectors 
and  cameras;  bought,  sold  and  exchanged.  Trades 
and  terms  accepted.  Free  bargain  bulletin. 
ZENITH,  308  W.   44th   St.,  New  York. 

H  BARGAINS:  Used  16mm.  sound  films  for  out- 
right sale.  $4.00  per  reel  and  up.  MATESTIC 
16MM  PICTURES,  1611  Davenport.  Omaha. 
Nebr. 

■  16MM.  SOUND— silent  films.  Bought,  sold, 
exchanged.  Castle.  Official  latest  releases  in 
stock.  ""BETTER  FILMS.  742  New  Lots  Ave., 
Brooklyn.  X.  Y. 

■  8-1 6mm.  FILMS  bought,  sold,  exchanged. 
Silent-sound  odd  reels.  $1.50.  Catalog,  sample 
film,  10c.  INTERNATIONAL,  2120  Strauss. 
Brooklyn.   N.   Y. 

■  RELIGIOUS  films.  Close  out.  SOF.  Write  for 
list.  ADYANCE  MOVIE  SERVICE.  568  E.  N. 
Broadway.   Columbus.   Ohio. 

|  CASTLE  films.  Smm.  and  16mm.  New  and  good 
used  films,  bargains.  MALEXA  CO.,  616  Market 
St..  Philadelphia.  Pa. 

TRADING   OFFERS 

■  WANTED:  REVOLVERS.  TARGET  PIS- 
TOLS. SHOTGUNS.  RIFLES,  BINOCULARS. 
We  make  liberal  allowances  for  firearms  and 
binoculars  to  apply  toward  the  purchase  of  16mm. 
and  Smm.  movie  equipment,  still  cameras,  en- 
largers,  and  photographic  equipment  of  all  kinds. 
NATIONAL  CAMERA  EXCHANGE,  Estab- 
lished, in  1914,  11  So.  Fifth  St.,  Minneapolis, 
Minn. 

MISCELLANEOUS 

■  COMPLETE  printing  outfit  for  movie  titles: 
presses,  type.  ink.  paper  and  supplies.  Write  for 
details.  KELSEY  PRESSES.  D-50.  Meriden,  Conn. 

|  EDITOLA — for  double  system  16mm.  Sep- 
arate heads  for  sound  and  picture.  Shows  picture 
and  reproduces  sound.  Particulars.  EDITOLA. 
S94  Woodland  Ave.,   Oradell.   X   J, 


CHANCES  are  you  need  movie  equipment  now,  more  than 
ever  before.  Yet  your  dealer  may  not  be  able  to  deliver, 
immediately,  the  new  model  you  prefer. 

If  that's  your  predicament,  you're  fortunate  if  you  own  a 


Bell  &  Howell  Camera  or  Projector.  For  this  equipment, 
through  a  new  B&H  service,  can  undoubtedly  be  made  to 
meet  your  needs  for  a  long  time  to  come.  This  new  equipment- 
conserving  service  includes: 


o 


Modernization  of  older  cameras  and 
projectors,  to  give  them  many  or  all 
the  features  of  current  models. 


,::::■:■:.::;: 


A  Few  of  Many  Practical  Modernizations 

EARLY    FILMO    16mm.    PROJECTORS    are    far 

below  today's  advanced  standards  in  illuminating 

power.  Far  below  today's  needs,  too — for  it  takes 

a  lot  of  light  to  bring  out  the  full  beauty  of  color 

films.  But  we  can  equip  your  early  projector  to  use 

modern,  powerful  750-watt  lamps.  And  the  cost 

will  be  less  than  you'd  pay  "to  boot"  in  trading  for         200W      7sow 

a  new  machine.  Pilot  light  and  lens  lock,  other  new  features,  can 

be  added  at  the  same  time,  if  you  wish. 


FILMO  8mm.  PROJECTORS  of  200-foot 
film  capacity  can  be  converted  to  400-foot 
capacity,  to  permit  uninterrupted  per- 
formances of  more  than  a  half-hour. 


EARLY  FILMOSOUNDS  with  500-watt  lamp  can  be  equipped 
to  use  750-watt  lamps.  Remote  volume  control,  "still"  picture 
clutch,  latest  high-fidelity  amplifier,  reverse,  and  improved  clutch 
control  are  among  other  modern  features  which  can  be  added. 


FILMO   16mm.  CAMERAS  of  the 

single-lens  types — 70,  141,  or 
Auto  Load — can  be  given  a  three- 
lens  turret  head  for  instant  lens  in- 
terchange, plus  a  viewfinder  which 
permits  quick  matching  of  finder 
to  lens.  Filmo  70  Cameras  can  also  be  fitted  with  hand  crank,  re- 
wind knob,  mask  slot  device,  single-frame  exposure  control,  and 
other  advanced  features  of  professional  studio  cameras. 


FILMO  8mm.  CAMERAS,  too,  can  be  given 
certain  professional  features,  including  a  re- 
winding attachment  for  lap  dissolves  and 
double  exposures,  and  a  quick-shift  zoom  at- 
tachment (for  Turret  8) .  If  you  prefer  a  different 
speed  range,  that  can  be  altered,  too. 


For  details  and  prices  on  these  and  many  other 
modernizations,  see  your  Filmo  dealer  or  send  the 
coupon  for " Modernization  Folders";  there's  one 
each  on  16mm.  cameras,  16mm.  silent  projectors, 
Filmosounds,  and  8mm.  equipment. 


An  economical  inspection,  maintenance, 
and  service  program,  to  keep  your  equip- 
ment in  excellent  operating  condition. 

Biiiiiiiiiiiiiiisiiiiiiiiiiiiiiuiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii^ 

Economical,  New  Way 
To  Make  Your  Filmo  Last 

To  help  Filmo  owners  keep  their  cameras  and  projectors  | 

in  fine  condition  during  the  time  when  replacement  § 

would    be   difficult,   we   have   established   economical,  | 

standard  charges  for  each  of  three  classes  of  service  on  | 

each   camera   and   projector  model.   Use  this   money-  | 

saving  way  to  keep  your  Filmo  at  the  peak  of  condition.  | 

Remember,  "no  Filmo   has  ever  worn  out!"  Ask  your  | 
Filmo  dealer  for  the  details,  or  send  the  coupon. 

:,  :;iiii  ,;iii:i  ;iii;:ii:  :iii;  ::;ii:  :!i:::i!i!::i:;::::;i!!^;iiii':iiii::;iiiir:iiii;;iii!:iiiii;;[iiiiir:l 


FILMOSOUND    UTILITY 

A  superb,  16mm.  sound-film  projector,  ideal  for  presenting  modern 
"talkies"  in  your  home,  and  with  ample  capacity  to  serve  in  your  club, 
church,  or  school.  Readily  portable.  Shows  silent  films,  too. 


BELL  &  HOWELL 
COMPANY 

Chicago;  New  York; 

Hollywood;  Washington,  D.  C; 

London 

Established  1907 


PRECISION- 
MADE    BY 


we/l£dfawe$ 


BELL  &  HOWELL  COMPANY 
1843  Larchmont  Ave.,  Chicago,  111. 
Please  send  folder  detailing  and  pricing  mod- 
ernizations of:  (  )  16mm.  cameras;  (  )  16mm. 
silent  projectors;    (  )    Filmosounds;   (  )  8mm. 
cameras  and  projectors. 
Send    details   on    standard-price   servicing   of 


(  )  Send  details  on  Filmosound  Utility. 


City State. 


Magazine   of    the    Amateur    Cinema    League,    Inc. 


«    W  lut  io  film  in  New   Brunswick" 
vacation  lands. 


IDE  fflflDf  fl  RED  CROSS  PICTURE 


»    Advice   on   finning   for   your    Red 
Ctonn  local  chapter. 


EVERY  NEW    MEMBER    GETS*" 

The  ACL  Movie  Booh 


i 


T'S  the  latest  book  on  amateur  movie  making!  .  .  .  It's  the 
biggest  book  about  the  subject  written  in  the  past  decade! 

311  PAGES— OVER  100  ILLUSTRATIONS-FRAME 
ENLARGEMENTS— PHOTOGRAPHS— DRAWINGS  I 
INTERESTING  —  NEW  IDEAS  —  SIMPLY  WRIT- 
TEN— ACCURATE— COMPLETE— FULL    INDEX. 

Written  by  the  staff  of  the  Amateur  Cinema  League — com- 
piled from  their  experiences  in  serving  thousands  of  movie 
makers  for  over  a  decade,  this  book  represents  the  latest 
and  simplest  cine  technique.  It  is  based  on  what  amateurs 
do.  It  tells  you  what  you  want  to  know  because  it  comes 
from  the  needs  and  questions  of  over  21,000  League  mem 
bers — every  one  a  real  movie  maker. 

The  new  book  is  packed  with  information  and  it 
is  simply  written  in  an  informal  style.  You  will 
find  it  fascinating,  and  you  may  be  sure  that  the 
information  is  correct  —  IT'S  AN  ACL  PUBLICA- 
TION. 

GET  THIS  NEW  BOOK  IN  ADDITION  TO  THE 

SERVICES  AND  PUBLICATIONS  LISTED  BELOW 

ALL  FOR  $5.00  A  YEAR 


if  MOVIE  MAKERS  .  .  .  Membership  includes  a  sub- 
scription to  Movie  Makers  monthly,  which  covers 
every  phase  of  amateur  and  practical  filming. 
Each  month  there  are  articles  for  the  beginner  as 
well  as  for  the  experienced  movie  maker. 

if  Technical  consulting  service.  .  .  Any  League  mem- 
ber can  put  his  movie  making  problems  up  to  the 
technical  consultant,  and  he  will  receive  prompt, 
detailed  service. 

if  Continuity  and  film  planning  service  .  .  .  The  con- 
tinuity consultant  will  aid  you  in  planning  specific 
films  by  offering  you  continuity  and  treatment 
suggestions,  ideas  on  editing  and  title  wordings. 

if  Club  service  .  .  .  Those  who  wish  to  organize  a 
club — either  for  the  production  of  films  or  for  the 
interchange  of  ideas  between  cameramen  —  will 
obtain  full  aid. 

if  Film  review  service  .  .  .  You  may  send  films  to  the 
League  for  criticism  and  review. 

+  Booklets  and  service  sheets  .  .  .  These  are  available 
to  all  members.  Booklets  are  sent  automatically, 


as  published,  to  members  who  request  them.  Book- 
lets now  current  are: 

Color  filming — 27  pages,  illustrated 

Featuring  the  family — 34  pages 

Lighting  personal  movies-  37  pages,  illus- 
trated 

Films  and  filters — 31  pages,  illustrated 

Building  a  Dual  Turntable — 30  pages,  illus- 
trated 

if  Equipment  service  .  .  .  The  League  aids  members 
in  locating  new  equipment. 

if  Film  Exchange  ...  A  member  may  list  his  films 
for  temporary  loan  among  other  members  and  will 
receive  in  return  a  list  of  films  offered  by  other 
members. 

if  Special  services  ...  in  two  important  fields  are 
available.  Through  the  Film  Review  Chart  a  mem- 
ber can  get  particularly  efficient  criticism  on  his 
reels.  By  means  of  the  Film  Treatment  Chart,  a 
member  may  secure  individually  prepared  film 
plans  and  continuity  outlines.  These  charts  are 
supplied  on  request  to  members  only. 


AMATEUR  CINEMA  LEAGUE.  Inc. 

420  Lexington  Ave.  Date 

New  York.  N.  Y.,  U.  S.  A. 

I  wish  to  become  a  member  of  AMATEUR  CINEMA  LEAGUE,  Inc.  My  remittance  for  $5.00. 
made  payable  to  AMATEUR  CINEMA  LEAGUE.  Inc..  is  enclosed  in  payment  of  dues.  Of  this  amount, 
I  direct  that  $2  be  applied  to  a  year's  subscription  to  MOVIE  MAKERS.  (To  nonmembers,  subscrip- 
tion to  MOVIE  MAKERS  is  $3  in  the  United  States  and  possessions:  $3.50  in  Canada.  $3.50  in  other 
countries.) 

MEMBERSHIP    $5   a   year 

Name     

Street     

City State 

May  '42 


GET    THESE    INDISPENSABLE 
FILMING  AIDS  AT  ONCE  FOR 


Five  dollars  a  year 


Amateur  Cinema  League,  inc. 

420  Lexington  Ave.  New  York,  New  York,  U.  S. 


What  Modernization  Can  Do 
for  Your  •&**■$**■  Camera 


If  you'd  like  to  do  things  beyond  the  scope 
of  your  Filmo,  you  needn't  be  deterred  by 
the  fact  that  the  camera  you  need  may  be 
difficult  or  impossible  to  buy  now.  For  it 


is  probable  that  B&H  craftsmen  can  give 
your  present  Filmo  the  versatility  you  want. 
Here  is  how  Filmo  8mm.  Cameras,  for  ex- 
ample, can  be  modernized. 


A  title  double-exposed  on  a  mov- 
ing picture  background 


One  person  plays  two  parts  . 
a  double-exposure  trick 


Double  Exposures  and  Lap  Dissolves 

With  a  camera  equipped  to  rewind  film  after  the  first 
exposure,  so  that  it  can  be  run  past  the  aperture  a 
second  time,  making  professional  double  exposures 
and  lap  dissolves  is  easy.  Your  Filmo  8  can  be  fitted, 
at  the  B&H  factory,  with  the  necessary  Rewinding  Attachment,  which 
includes  external  rewinding  knob  and  frame  counter,  and  internal 
shuttle  release  lever  and  frame  counter  actuating  sprocket.  Prices,  in- 
cluding installation:  for  single-lens  Filmo  8,  $40.8  5;  for  Turret  8,  $43. 5  5. 


The  lap  dissolve 
gives  smooth  transi- 
tions 


Special  Effects  Possible  with 
Different  Camera  Speeds 

Your  Filmo  8  operates  in  one  of  two  speed 
ranges:  8,  16,  24,  and  3  2  frames  per  second, 
or  16,  32,  48,  and  64  f.p.s.  If  it  is  the  former, 
perhaps  you'd  like  to  take  slow-motion 
scenes,  which  require  the  64-speed.  And 
some  who  originally  chose  the  16  to  64 
range  would  now  prefer  the  other,  because 
8-speed  is  useful  for  accelerating  sluggish 
action  and  for  taking  pictures  under  weak 
light.  Either  speed  range  change  can  be 
made  on  any  Filmo  8  Camera  at  the  B&H 
factory  or  a  B&H   branch.  Price,  $10.65. 


64-speed  gives  beautiful 
slow-motion  studies 


VO  . 


Refinishing 


Would  you  like  to  have  your  Filmo  8  Camera  sparkle  again  as  when  new? 
At  the  B&H  Chicago  factory  we'll  remove  the  mechanism,  refinish  the  die- 
cast  housing  just  as  we  do  new  cameras,  and  reassemble,  all  for  $7.50. 


8-speed  doubles  the 
rate  of  action 


New  Ease  in  Determining  Correct  Exposure 

A  new  exposure  guide,  to  replace  the  one  now  on  your  Filmo  8,  covers  all 
the  factors  that  affect  lens  diaphragm  setting — not  only  seasons,  hours  of 
the  day,  and  types  of  subjects,  as  covered  by  your  present  guide,  but  also 
film  emulsion  speeds,  color  filters,  and  camera  operating  speeds.  Installed 
on  your  camera  at  B&H  factory  or  branch,  $3.50. 

Pin-sharp  Focusing  through  Any  Lens 

A  Critical  Focuser,  applicable  to  any 
Filmo  Turret  8  Camera  at  the  B&H 
factory  and  branches,  permits  see- 
ing a  magnified  image  of  your  sub- 
ject through  any  lens  on  the  turret 
head.  Thus  you  can  focus  visually 
for  maximum  sharpness.  Price,  in- 
cluding installation,  $19-45. 


ENJOY  SOUND  MOVIES  AT  HOME 

The  compact,  portable  Filmosound  Utility  is  an  all- 
purpose  16mm.  projector  .  .  .  shows  both  silent  and 
sound  films.  Amply  powerful  to  serve  in  your  church  or 
club  auditorium. 


Timely  Films  for  Home  Showings 

"War  w/rhouf  Warning"  Series 
Intelligently  compiled  from  various  domestic   and 
foreign  sources,  these  films  deal  with  the  fighting 
fronts  and  the  home  fronts,  too.  Write  for  detailed 
lists. 

"Know  Your  Neighbor"  Programs 
B&H  Filmosound  Library  offers  scores  of  choice 
films  which  increase  our  knowledge  of  our  allied 
peoples   and   of  the  vital   geography  of  this  first 
global  war.  Details  upon  request. 

8mm.  Film  Rental  Library 
Hundreds  of  popular  Filmosound  Library  movies 
are  now  available  for  rental  in  the  8mm.  size.  Users 
of  8mm.  projectors  are  invited  to  write  for  8mm. 
film  catalog. 

BELL   &  HOWELL  COMPANY 

Chicago;    New    York;    Hollywood;    Washington, 
D.  C;  London.  Established  1907. 


PRECISION- 
MADE     BY 


MAKE  WUR  F/LMOLASTf 

(JseThis  Economicol,New Service 


To  help  Filmo  owners  keep  their  cameras  and  pro- 
jectors in  fine  condition  during  the  time  when  re- 
placement would  be  difficult,  we  have  established 
economical,  standard  charges  for  each  of  three  classes 
of  service  on  each  camera  and  projector  model.  You'll 
be  surprised  at  how  little  periodic  factory  service 
costs,  and  at  how  much  it  will  add  to  the  satisfaction 
your  Filmo  gives  you.  Mark  coupon  for  details. 


BELL  &  HOWELL  COMPANY 

1843  Larchmont  Ave.,  Chicago,  111. 
Please  send  folder  detailing  and  pricing  .nod- 
ernizations  of:    (    )    8mm.   cameras    and    pro- 
jectors;  (    )  16mm.  cameras;   (    )   16mm.  silent 
projectors;  (  )  Filmosounds. 
Send   details   on    standard -price   servicing   of 

Send  details  on  (  )  Filmosound  Utility; 
(  )  timely  films  for  home  showings;  (  )  8mm. 
film  rental  library. 

Name ■• 

Address 

City State mm  5-42 


182 


MAY    1942 


133 


MOVIE     lVi^VK      R  S 


The    Magazine    of    the   Amateur   Cinema    League,    Inc. 


COrVITEiNITS 


Volume   17  May,   1942  Number  5 

Cover,  16mm.  scenes Frank  E.  Gunnell,  ACL 

Closeups .  jg^ 

Free  film  reviews j^g 

A  specific  example,  editorial jgo. 

They  volunteered  for  victory James  W .  Moore,  ACL  191 

We   made   a    Red   Cross    picture Walter  Bergmann.  ACL,  and  James  J.  Berman,  ACL  193 

Filming   fish — not   in   the   sea Kenneth  F.  Space,  ACL  194 

Projection     for     defense Arthur  A.  Hebert,  ACL  196 

Filming    New    Brunswick's    isle Robert  W .  Crowther,  ACL  197 

Practical  films James  N.  Young,  jr.  198 

Holiday   in  Dixie Morton  H.  Read,  ACL  199 

Amateur  clubs James  W,  Moore,  ACL  202 

Your  draft  board Stanley  H.  Hackman,  M.D.,  ACL  203 

The  clinic Kenneth  F.  Space,  A  CL  204 

News  of  the  industry Donald  Maggini  206 

Films    you'll    want    to    show 207 


Hobart  Photo  Features 


ARTHUR     L.     GALE 

Editoi 


JAMES  W.  MOORE 
Continuity  Editor 

KENNETH  F.  SPACE 
Technical  Editor 

ALEXANDER  de  CANEDO 
Art  Editor 

DONALD  MAGGINI 

Advertising  Department 


is  published  monthly  in  New  York,  N.  Y..  by  the  Amateur  Cinema  League,  Inc. 

Subscription  rate  $3.00  a  year  postpaid  (Canada  and  Foreign  $3.50);  to  members  of  the 
Amateur  Cinema  League,  Inc.,  $2.00  a  year,  postpaid;  single  copies  25c  (in  U.  S.  A.).  On 
sale  at  photographic  dealers  everywhere.  Entered  as  second  class  matter,  August  3,  1927, 
at  the  Post  Office  at  New  York,  N.  Y.,  under  act  of  March  3.  1879.  Copyright,  1942,  by  the 
Amateur  Cinema  League,  Inc.  Title  registered  at  United  States  Patent  Office.  Successor  to 
Amateur  Movie  Makers,  title  registered  at  United  States  Patent  Office.  Editorial  and 
Publication  Office;  420  Lexington  Avenue,  New  York,  N.  Y.,  U.  S.  A.  Telephone  MOhawk 
4-0270.  Advertising  rates  on  application.  Forms  close  on  10th  of  preceding  month. 

CHANGES  OF  ADDRESS:  A  request  for  a  change  of  address  must  reach  us  at  least  by 
the  twelfth  of  the  month  preceding  the  publication  of  the  number  of  Movie  Makers  with 
which  it  is  to  take  effect.  Duplicate  copies  cannot  be  sent  when  a  number  of  the  magazine 
does  not  reach  you  because  of  failure  to  send  in  this  advance  notice.  The  Post  Office  will 
not  forward  copies  unless  extra  postage  is  provided  by  you. 


184 


MAY    1942 


"Catastrophe"  by  Don  Corvelli,  Photo- 
graphic Manager  of  the  Camden,  N.  J. 
Courier-Post  Newspapers.  This  gripping 
scene  won  the  Gold  Medal  award  of  the 
New  Jersey  Press  Association  as  the  out- 
standing news  picture  of  1940.  Corvelli 
risked  his  life  to  make  this  vivid  picture 
during  the  Hollingshead  fire  and  explosions. 
He  writes:  "I  have  been  using  Wollensak 
enlarging  lenses  for  15  years.  I  prefer  the 
Wollensak  lens  for  the  crystal  clear,  bril- 
liant images  formed  in  projection."  Improve 
your  photography  with  a  Wollensak. 


WOLLENSAK  OPTICAL  CO.,  Rochester,** 


MOVIE    MAKERS 


185 


44 


Show  ony°ur  ""  ,pc0rated  m  -  aS  od?-  ■-     -  ,    M   v 


command  m 


the  g^g^en  Australta 


°*  **£    A  — 


treasure 


for  a 


lifetime. 


TT 


1^1 


F^st  movies  ^  ***£*-.* *^ 

by  Gene^^    destruct^-  ,  ^  E*P 

^°CaUtmes  basted  to  sht 

Fragile  homes         ^_      ^||B|| IIU^ 

less  war  m  «#  *     pic,    ^ON  SALE  AT  YOUR 
banc  cruelty         ^eti.    \      PH0T0  DEALER- OR 

SEND  THES   HANDY 

ORDER  FORM 

TO  HIM 


banc  <*f*       Ameti- 
mTe  that  every 


I  NC. 


RCA  BLDG.  FIELD  BLDG.   RUSS  BLDG. 
NEW  YORK   CHICAGO   SAN  FRANCISCO 


50  ft.,  8mm $1.75 

180  ft.,  8mm     .....    $5.50  I 
100  ft..  16mm      ....    $2.75  □ 
360  ft.,  16mm       ....    $8.75  □ 
350  ft.,  16mm  sound  .      $17.50^1 


First  Soldier"  and  "Manila  Bombed"  (.both       ■ 
in  the  same  film)  in  the  size  and  length  checked. 


Address- 


Remittance  enclosed  herewith  fj]  Ship  C.  0.  D.  □   cit 


mm-sa 


Copr.  194Li  Casti. 


J 


186 


AMAZiNGs„ 


ON 
A 


DAiiTE 


Pn&ject  Ijaui  PioLtsi&L 
^     GLASS-BEADED 

SCREEN 


(Ree.  U.  S.  Pat.  Off.) 

T^VERYONE  "sits  up  and  takes 
notice"  when  you  start  showing 
your  home  movies  and  color  slides 
on  a  Da-Lite  Glass-Beaded  Screen. 
Its  specially  processed  surface  sharp- 
ens details  and  adds  breath-taking 
realism  to  every  scene.  The  fabric  is 
specially  processed  to  stay  white  and 
pliable.  Because  dust  and  dirt  accu- 
mulate on  any  screen  over  a  period 
of  years,  Da-Lite  does  not  give  a  life- 
time guarantee  of  permanent  white- 
ness, for  to  do  so  would  be  mean- 
ingless. This  famous  Glass-Beaded 
fabric,  the  result  of  33  years  of 
screen  manufacturing  experience,  is 
available  in: 

9  Convenient  Mountings 

including  the  Da-Lite  Challenger 
shown  above.  Although  widely  imi- 
tated, the  Challenger  remains  un- 
challenged for  its  ease  of  operation 
and  sturdy,  rigid  construction.  The 
Challenger  is  the  first  and  only 
screen  with  square  tubing  in  center 
rod  and  extension  support  that  can 
be  raised  to  the  desired  height  in 
one  operation,  without  requiring 
separate  adjustments  of  case  or 
fabric  to  maintain  correct  screen 
proportions. 

Ask  for  a  demonstration  at  your 
dealer's  today  and  you  will  under- 
stand why  a  recent  survey  by  a  lead- 
ing photographic  magazine  shows 
that  its  readers  own  more  Da-Lite 
Screens  than  all  other  makes  com- 
bined. Write  for  literature. 

DA-LITE  SCREEN  CO..  INC. 


Dept.  5MM 


2721   No.  Crawford  Ave. 


Chicago,   III. 


2.44&lUif  S&ieenA,  fob 
33  IjeaAA 


Closeups — What   fil 


mers  are 


MAY    1942 


doing 


To  his  many  friends  in  international 
film  competition,  Movie  Makers  is 
happy  to  announce  that  James  A.  Sher- 
lock, a  founder  officer  and  member  of 
the  Australian  Amateur  Cine  Society, 
in  Sydney,  has  hung  out  his  shingle  as 
a  commercial  producer  of  16mm.  indus- 
trial and  "documentary"  motion  pic- 
tures. Mr.  Sherlock  has  taken  awards 
in  every  international  competition  in 
which  he  has  entered,  including  a 
place  in  the  Ten  Best,  two  awards  in 
Hollywood,  two  in  London  and  others 
in  Glasgow  and  Tokyo.  Among  his  best 
known  pictures  are  Surf,  Sand  and  Sun- 
shine, Ships  of  Sydney,  Nation  Builders 
and  The  City  of  Sydney. 

Our  Nassau  County  Red  Cross  is 
among  the  latest  of  the  growing  num- 
ber of  substandard  motion  pictures  be- 
ing produced  by  volunteer  filmers 
across  the  country,  to  aid  the  war  ef- 
fort. Running  600  feet  of  16mm.  mono- 
chrome, the  picture  was  produced  by 
Mrs.  Margaret  F.  Currie,  ACL,  and  had 
its  premier  screening  recently  in  the 
Manhasset  Theatre  in  her  home  com- 
munity on  Long  Island.  N.  Y.  A  distin- 
guished audience,  led  by  Mrs.  Henry 
P.  Davison,  chairman  of  the  Nassau 
County  chapter  and  a  member  of  the 
national  board  of  directors  of  the 
American  Red  Cross,  attended  the 
presentation.  Later  screenings  of  the 
film  followed  at  The  Playhouse,  in 
Great  Neck,  the  Beacon  Theatre,  in 
Port  Washington,  and  the  Hempstead 
Theatre,  in  that  community. 

Others  serving  the  Red  Cross  locally 
in  their  cities  are  H.  F.  Hamilton,  ACL, 
of  Findlay,  Ohio,  who  is  making  a  film 
of  the  activities  of  the  Junior  chapter 
at  the  request  of  the  senior  group; 
Donald  A.  Buchan,  ACL,  of  North  An- 
dover,  Mass.,  who  has  announced  plans 
for  the  production  of  reels  to  be  used 
locally  in  conjunction  with  the  ARC 
First  Aid  courses,  and  C.  P.  Spencer, 
in  Cedar  Rapids,  Iowa,  who  has  similar 
plans  for  film  making  in  his  city. 

In  the  related  field  of  civilian  defense. 
George  H.  Snider.  ACL,  of  Buffalo. 
N.  Y.,  has  been  busy  screening  defense 
instruction  films  for  his  city's  Defense 
Council  two  nights  weekly  in  a  local 
high  school.  Sydney  A.  Lazarus,  ACL, 
of  Glen  Ridge,  N.  J.,  and  Harold 
Rhodenbaugh,  ACL,  in  Louisville,  Ky., 
both  have  plans  on  foot  for  the  produc- 
tion of  record  films  of  OCD  activities 
and  arrangements  in  their  separate 
communities. 

Air  wardens  and  others  in  Brooklyn, 
N.  Y.,  who  are  interested  in  using 
movies  in  the  cause  of  civilian  defense 


will  find  that  Samuel  L.  Levy  is  exactly 
the  man  they  are  looking  for.  The  own- 
er of  one  of  the  largest  private  libraries 
of  sound  on  film  defense  pictures  in 
the  country,  Mr.  Levy  has  been  making 
his  contribution  to  the  borough's  war 
effort  in  a  series  of  two  screenings 
weekly  of  these  films  and  others  sup- 
plied by  the  Civilian  Defense  Volunteer 
Office.  He  presents  his  programs  in  per- 
son on  the  latest  16mm.  sound  equip- 
ment and  with  absolutely  no  charge  to 
the  groups  he  has  served.  When  we 
talked  to  Mr.  Levy  about  this  one  man 
"Music  Hall"  project,  he  estimated 
that  he  had  already  reached  more  than 
100,000  persons  in  over  100  screenings. 
To  arrange  a  booking,  call  him  during 
business  hours  at  Dickens  6-3000  or 
drop  in  to  see  him  at  the  Singer  & 
Singer  Hardware  Store,  335  Sutter  Ave- 
nue, in  Brooklyn. 

At  least  part  of  the  elaborate  cere- 
monies, last  month,  marking  the  one 
hundredth  anniversary  of  New  York 
City's  present  public  school  system  will 
be  recorded  for  posterity  in  motion  pic- 
tures, according  to  a  report  from  Frank 
E.  Gunnell,  ACL,  of  West  New 
Brighton,  on  Staten  Island.  Mr.  Gun- 
nell, who  is  a  teacher  in  Richmond's 
P.  S.  45,  made  a  complete  and  care- 
fully authentic  record  in  16mm.  color 
of  the  recreated  school  days  of  1842, 
staged  by  the  city  in  seven  historic 
school  buildings  throughout  Greater 
New  York.  His  film  treats  only  of  the 
ceremonies  carried  out  in  Staten  Island, 
where  eighteen  boys  and  girls,  in  cos- 
tumes designed  from  illustrations  in 
Godeys  Woman  s  Magazine,  went 
through  the  day  long  rituals  of  our 
antiquated  education.  The  setting  se- 
lected for  the  Staten  Island  celebration 
was  the  246  year  old  Voorlezer  House, 
believed  to  be  the  oldest  elementary 
school  building  still  standing  in  the 
United  States. 

Although  exposed  in  the  warm  south 
of  Natchez,  Miss.,  Historic  Homes,  a 
16mm.  color  film  by  A.  K.  Stussy,  ACL, 
of  Eau  Claire,  Wise,  is  strangely  remin- 
iscent of  Symbols  of  Hospitality,  pro- 
duced by  the  Reverend  Frederick  W. 
Smith,  ACL,  in  the  cooler  latitudes  of 
New  England,  and  noted  in  this  col- 
umn in  March.  Like  Mr.  Smith.  Mr. 
Stussy  has  done  much  to  capture  the 
nostalgic  flavor  of  an  older  era — in  his 
film,  that  of  the  ante  bellum  Southland. 
The  picture  was  produced  last  spring, 
during  the  annual  (and  justly  famous) 
Natchez  Garden  Tour  Week,  in  which 
many  of  the  oldest  and  finest  of  the 
river  city's  ancient  mansions  are  thrown 
open  for  public  visit.  It  is  a  subject  we 
can  heartily  recommend  in  these  days 
of  film  restrictions. 


"Bill  brought  his  Revere 
and  we're  going  to  take  Movies! " 


FOR  TOP  ENTERTAINMENT  AT  LOW  COST 

S        -    ^-  CAMERA 

With  a  Revere  8  mm  Camera  you  can  take 
movies  of  your  good  times  in  black-and-white 
or  brilliant  natural  colors  as  easily  as  you 
now  take  snapshots.  Action  scenes  (not  posed 
stills)  cost  about  10c  each — fully  processed, 
ready  to  show.  What  finer  way  is  there  to 
record  the  visits  of  Service  Men  on  leave, 
your  children's  birthday  parties,  week-end 
hunting  and  fishing  trips,  and  other  happy 
events?  And  what  a  thrill  you  and  your 
friends  will  get  when  you  see  these  action 
movies ! 

The  Revere  Camera,  with  its  5  speeds,  fast 
lens,  exclusive  reciprocating  sprocket  film 
control  for  steady,  sharp  movies  and  many 
other  advantages,  is  so  simple  to  use 
that  even  the  beginner  can  get  good 
movies  with  it.  Ask  your  dealer  about 
precision-built  Revere  8  mm  Cameras 
and  Projectors.  Write  for  literature. 
Revere  Camera  Company,  Dept.  5MM, 
320  E.  21st  St.,  Chicago,  Illinois. 


REVERE   MODEL   88   CAMERA 

takes  all  standard  8  mm  film.  Easy  to  load  and  to 
operate.  Eastman-licensed  spool  and  spindle.  5  speeds. 
Revere  reciprocating  sprocket  film  control.  Built-in 
Dptical  view  finder,  corrected  for  parallax.  Precision 
mechanism  with  powerful,  smooth-running  motor.  Com- 
plete with  Wollensak    F  3.5   lens,   $38.50. 


REVERE    MODEL   99 

TURRET  CAMERA 

has  the  same  basic  features  as 
Model  88  plus  a  rotating  turret 
head  for  3  screw-type  lenses, 
and  an  extra  optical  view  find- 
er for  use  with  telephoto  lens. 
Complete  with  one  Wollensak 
F  2.5    lens,    S77.50. 


with  a  REVERE  PROJECTOR 

Next  to  the  excitement  and  fun  of  taking 
movies  is  the  thrill  of  seeing  them  projected 
on  your  home  screen  with  a  Revere  Projector. 
This  powerful  equipment  excels  in  features  es- 
sential to  brilliant  pictures,  smooth  operation 
and    dependable    performance. 

MODEL  80 

(Shown  here) 
Heavy  duty  AC-DC  mo- 
tor. Double  blower  cool- 
ing system  for  lamp  and 
film.  Enclosed  precision 
mechanism  (no  belts). 
Fast  power  rewind.  Man- 
ual clutch  for  stills.  Radio 
interference  eliminator. 
Complete  with  500  watt 
lamp,  F  1.6  lens  and  one 
300-ft.   reel,    $75. OO. 

MODEL  85 

has  the  *ame  features 
as  the  "80"  plus  duo- 
shield  light  diffuser, 
micro-tilt,  beam  thread- 
ing light  and  carrying 
case.  Complete  with  500- 
watt  lamp,  F  1.6  lens, 
one  300-ft.  reel  and  case, 
$89.50. 


Revere  Qualify S%£?ufi/mnf 


fc*uf  U.  S.  DEFENSE  SAVINGS 
BONDS    AND    STAMPS  Ato** ! 

••••••••••••■*••••••••••••••••••••*  *  »  A 


188 


MAY    1942 


FREE  FILM  REVIEWS 

You  can  borrow  these  new  publicity  movies  without  charge 


THESE  films,  the  latest  publicity  pic- 
tures produced,  are  offered  on  loan, 
without  charge.  Some  may  be  available 
to  individuals,  and  others  are  available 
only  to  clubs  or  groups.  In  certain  cases, 
the  type  of  organization  to  which  the 
films  are  lent  without  charge  is  speci- 
fied. To  borrow  these  films  for  a  screen- 
ing, write  directly  to  the  distributor, 
whose  address  is  given.  (Note  carefully 
the  restrictions  mentioned  in  each  case.) 

LATEST  RELEASES 

New  York  Calling!,  800  feet,  16mm. 
sound  on  film,  color;  produced  by  Fred- 
erick G.  Beach,  ACL.  Supervisor  of 
Motion  Picture  Bureau.  Public  Rela- 
tions Department.  New  York  Central 
System. 

Offered  to:   groups  only. 

Available  from:  The  Departments 
of  Visual  Education  of  the  State  uni- 
versities of  California.  Colorado,  Illi- 
nois, Indiana.  Iowa.  Michigan,  Minne- 
sota, Washington  and  Wisconsin;  also 
from  Texas  Christian  University,  Fort 
Worth,  Texas,  and  Syracuse  University, 
Syracuse,  N.  Y. 

New  York  Calling!  is  a  swift  moving 
tour  of  the  high  spots  of  New  York  City 
and  its  environs.  Opening  sequences  of 
the  Hudson  River  Valley  show  an  often 
neglected  aspect  of  New  York.  Most 
of  the  film  is  devoted  to  the  city  itself, 
covering  virtually  all  points  of  interest 
in  frequently  beautiful  shots.  The  film 
closes  with  the  visitor  entrained  once 
more,  homeward  bound. 

Chrysanthemum  Time,  400  feet,  16mm. 
silent,  color;  produced  by  Edward  F. 
Wheeler. 

Offered  to:  groups. 

Available  from:  Edward  F.  Wheeler, 
Director  of  Visual  Education.  Depart- 
ment of  Education.  Bristol,   Conn. 

Chrysanthemum  Time  presents  many 
of  the  chrysanthemum  displays  of  the 
Bristol  Nurseries,  which  are  the  largest 
in  the  world.  The  film  shows  the  flow- 
ers, both  in  their  surroundings  and  in 
solitary  splendor.  Many  of  the  varieties 
are  shown  in  beautiful  closeups. 

Americans  All,  885  feet.  16mm.  sound 
on  film,  black  and  white;  produced  by 
Julien  Bryan,  assisted  by  Jules  Bucher. 

Offered  to:  groups  only. 

Available  from:  Coordinator  of 
Inter-American  Affairs.  Motion  Picture 
Division.  444  Madison  Avenue,  New 
York,  N.  Y. 

Americans  All  is  the  first  of  a  new 
series  of  Inter-American  films,  designed 
to  make  Americans  of  the  South  under- 


standable to  those  of  the  North.  A  com- 
pilation of  current  shots  and  older  stock 
material,  the  film  is  wide  in  its  scope 
and  moves  swiftly.  Starting  with  a  brief 
historical  resume  of  South  American 
background,  the  main  portion  of  the 
picture  is  devoted  to  the  outstanding 
features  of  the  twenty  one  Central  and 
South  American  republics. 

East  of  Bombay,  1200  feet,  16mm.  sound 
on  film,  black  and  white;  produced  by 
Armand  Denis  Productions. 

Offered  to:  groups  and  individuals. 

Available  from:  Dodge  Division, 
Chrysler  Corporation,  211  Chrysler 
Building.  New  York,  N.  Y. 

East  of  Bombay  was  filmed  on  a 
Denis-Roosevelt  expedition  to  little 
known  portions  of  India,  Burma  and 
Ceylon.  Ivory  carving,  rug  making, 
tricks  of  the  fakirs,  Buddhist  cere- 
monies and  the  famous  procession  of 
the  Juggernaut  help  to  convey  the  mys- 
tic atmosphere  of  these  lands.  Wheels 
Across  Africa  and  Wheels  Across  India 
are  earlier  productions  of  these  same 
explorers. 

Educator's  comment:  This  is  an  in- 
teresting film  for  any  junior  or  senior 
high  school  class  studying  India. — 
E.D.C. 

Come  Out  of  the  Kitchen,  3  reels, 
16mm.  sound  on  film,  color  and  black 
and  white;  produced  by  the  Jam  Han- 
dy Organization. 

Offered  to:  senior  high  schools  and 
adult  groups  only. 

Available  from:  Y.M.C.A.  Motion 
Picture  Bureau,  347  Madison  Avenue. 
New  York,  N.  Y.;  19  South  La  Salle 
Street,  Chicago,  111.;  1700  Patterson 
Avenue,  Dallas,  Texas;  351  Turk  Street, 
San  Francisco,  Calif. 

Come  Out  of  the  Kitchen  tells  of  the 
part  played  by  the  canning  industry  in 
liberating  the  housewife  from  much  of 
the  drudgery  of  her  work  at  home.  We 
see  the  careful  growing,  production  and 
preparation  of  foodstuffs  which  provide 
the  material  for  the  tempting  and  nu- 
tritious canned  soups  of  today,  which 
are  served  with  a  fraction  of  the  labor 
and  time  needed  in  the  past. 

Meat  for  America,  2  reels.  16mm. 
sound  on  film,  black  and  white;  pro- 
duced by  Burton  Holmes  Films,  Inc. 

Offered  to:  groups  only. 

Available  from:  Y.M.C.A.  Motion 
Picture  Bureau,  347  Madison  Avenue. 
New  York,  N.  Y.;  19  South  La  Salle 
Street.  Chicago.  III.;  1700  Patterson 
Avenue.  Dallas  Texas:  351  Turk  Street. 
San  Francisco,  Calif. 


This  film  tells  the  story  of  America's 
third  largest  industry — meat  packing — ■ 
from  the  meat  "on  the  hoof"  to  that  on 
your  dining  table.  Opening  with  scenes 
of  Western  pasture  lands,  the  film  then 
shows  the  great  packing  centers  where 
cattle,  sheep  and  hogs  are  turned  into 
food.  Rigid  tests  and  inspections  are 
the  rule,  and  meat  must  meet  the  re- 
quired specifications  at  every  stage  of 
the  preparation.  There  is  also  a  se- 
quence in  the  experimental  kitchens  of 
Armour  &  Company,  where  new  ways 
of  serving  meat  are  developed,  to  retain 
as  much  of  the  original  health  value  as 
possible. 

Putting  Plantfood  to  Work,  1  reel,  400 
feet.  l6mm.  sound  on  film  (also  2  reel 
silent  version),  color;  produced  by  the 
National  Fertilizer  Association. 

Offered  to:  groups,  especially  coun- 
ty agents  and  extension  specialists. 

Available  from:  The  National  Fer- 
tilizer Association,  616  Investment 
Building,  Washington,  D.  C. 

Putting  Plantfood  to  Work  is  the 
story  of  applying  fertilizer.  The  film 
interprets  the  development  of  fertilizer 
application,  the  problems  encountered, 
the  movement  of  fertilizer  in  wet  and 
dry  soil,  and  it  covers  many  other 
points.  Almost  all  the  major  crops  and 
many  of  the  minor  ones  are  used  to 
demonstrate  the  results  of  experiment 
stations  and  of  farmers  using  the  better 
methods    of    application. 

Educator's  comment:  Although  the 
film  is  quite  technical  and  therefore 
best  adapted  to  agriculture  classes,  it 
may  also  be  used  by  any  groups  study- 
ing farming,  because  it  illustrates  how 
different  crops  are  planted,  cultivated 
and  harvested. — E.D.C. 

Hawaii,  USA,  1000  feet.  16mm.  sound 
on  film,  color;  produced  by  Hawaii 
Tourist  Bureau. 

Offered  to:  groups  only. 

Available  from:  U.  S.  Travel  Bu- 
reau, 45  Broadway,  New  York.  N.  Y. 

Hawaii,  USA  covers  all  the  impor- 
tant points  of  interest  in  the  Territory 
and  shows  the  natives  engaged  in  ac- 
tivities, such  as  making  leis.  fishing 
with  nets,  constructing  canoes  and  rid- 
ing surfboards.  It  contains  remarkably 
fine  sequences  of  the  sugar  and  pine- 
apple industries,  and  there  are  views 
of  the  military  defenses  of  the  Islands. 

Educator's  comment:  Any  age 
group,  studying  the  Hawaiian  Islands, 
ought  to  see  this  outstanding  travel 
film.  It  will  also  be  very  useful  to  mod- 
ern history  classes  discussing  our  ter- 
ritorial possessions. — E.  D.  C. 


189 


A  SPECIFIC  EXAMPLE 


IN  JANUARY  Movie  Makers  several  courses  of 
action  were  suggested  by  our  President  to  patri- 
otic filmers  who  want  to  have  a  part,  with  their 
cameras,  in  the  war  effort  of  the  United  States. 
One  of  these  courses  was  a  proffer  of  service  to  local 
Civilian  Defense  officials.  This  field  of  filming  aid  has 
found  favor  in  many  communities,  as  movie  makers 
have  helped  the  civilian  defense  of  their  home  towns. 

In  New  York  City,  the  procedure  was  reversed, 
because  Civilian  Defense  authorities  in  the  Borough 
of  Manhattan  came  to  the  Amateur  Cinema  League 
to  discover  if  New  York  amateurs  would  help  in 
making  a  film  to  be  used  in  increasing  the  volunteer 
enlistment  of  nurses'  aides.  League  headquarters  were 
able — thanks  to  the  registration  of  movie  makers  on 
blanks  printed  in  February  Movie  Makers  —  very 
quickly  to  put  Manhattan  Civilian  Defense  officials  in 
touch  with  personal  filmers.  These  filmers  not  only 
provided  the  finest  kind  of  technical  capacity  in  the 
camera  work  of  Leo  J.  Heffernan,  ACL,  latest  winner 
of  the  Hiram  Percy  Maxim  Memorial  Award,  but 
also  contributed  the  film  used. 

Elsewhere  in  this  number  of  Movie  Makers  is 
found  the  story  of  The  Volunteer  Nurses'  Aide,  the 
film  that  resulted  from  the  New  York  City  effort. 
This  picture  was  not  only  made  with  amazing  speed, 
but  it  was  issued  in  both  a  silent  and  a  sound  version, 
an  elaboration  that  may  not  be  possible,  or  even  neces- 
sary, in  many  instances.  Already,  since  its  premiere, 
in  mid  April,  the  film  has  been  shown  in  continuous 
projection  in  store  windows  and  to  bodies  of  women 
all   over   New  York's   five   boroughs.    It   is   doing   a 


definite  and  essential  war  job. 

There  is  no  reason  why  every  city  and  town  in 
the  United  States  where  a  single  amateur  movie  maker 
lives  should  not  have  this  kind  of  film  at  the  service  of 
its  Civilian  Defense  Council.  Perhaps  the  call  is  for 
a  movie  presentation  of  some  other  civilian  defense 
need  or  activity.  Manhattan  elected  to  have  first  a 
film  to  aid  the  enlistment  of  women  as  nurses'  aides, 
but  this  example  can  be  and  should  be  varied  accord- 
ing to  local  conditions. 

It  is  not  necessary  to  wait  for  Washington  to  push 
the  button.  Mr.  Landis  and  General  Gasser,  of 
the  Washington  Office  of  Civilian  Defense,  have 
repeatedly  pleaded  for  self  starting  local  effort.  There 
is  no  disposition  on  their  part  to  slow  down  the 
volunteer  effort  in  national  civilian  defense  by  "red 
tape"  in  their  office  or  in  any  regional  or  local  office 
that  deals  with  this  important  matter  of  protecting 
the  civil  population. 

The  New  York  City  film  was  made  entirely  by 
local  initiative,  without  aid  from  Washington.  Your 
community  can  go  forward  in  this  same  direct  and 
practical  fashion.  If  your  local  defense  officials  are 
timid,  if  they  want  to  "refer  it  to  Washington,"  re- 
mind them  that  Mr.  Landis  has  pleaded  against  just 
those  delaying  tactics. 

This  country  will  achieve  practical  civilian  defense 
not  by  waiting  for  leadership  from  Washington,  but 
by  taking  off  its  collective  coat,  rolling  up  its  com- 
munity sleeves  and  going  forward,  in  the  old,  self 
reliant  American  way.  Let's  do  this  in  the  matter  of 
Civilian  Defense  movies! 


The  AMATEUR  CINEMA  LEAGUE,  Inc. 

whose  voice  is  Movie  Makers,  is  the  international  or- 
ganization of  movie  amateurs,  founded  in  1926  and 
now  serving  filmers  in  many  countries.  The  League's 
consulting  services  advise  amateurs  on  plan  and  execu- 
tion of  their  films,  both  as  to  cinematographic  tech- 
nique and  continuity.  It  serves  amateur  motion  picture 


clubs  in  organization,  conduct  and  program  and  pro- 
vides for  them  a  film  exchange.  It  issues  booklets.  It 
maintains  various  special  services  for  members.  The 
League  completely  owns  and  operates  Movie  Makers. 
The  directors  listed  below  are  a  sufficient  warrant  of 
the  high  type  of  our  association.  Your  membership 
is   invited.  Five   dollars   a   year. 


Hiram     Percy     Maxim,     Founder 

DIRECTORS     OF     THE     LEAGUE 


STEPHEN   F.  VOORHEES,  President     . 

JOHN   V.    HANSEN.    Vice   President      . 

ETHELBERT      WARFIELD.      Treasurer 

C.    R.    DOOLEY         .... 

MRS.    L.    S.    GALVIN 

H.  EARL  HOOVER    .... 

HAROLD    E.    B.    SPEIGHT 

FLOYD    L.    VANDERPOEL 

T.    A.    WILLARD       .... 

ROY   W.    WINTON,   Managing  Director 


.  New  York  City 
Washington,  D.  C. 
•  New  York  City 
.  New  York  City- 
Lima,  Ohio 
.  Chicago,   III. 

Ithaca,    N.    Y. 
Litchfield.    Conn. 
Beverly  Hills,  Calif. 
.    New  York   City 


Address    all    inquiries    to 

AMATEUR  CINEMA  LEAGUE,  INC. 

420  LEXINGTON  AVE..  NEW  YORK  CITY.  U.S.A. 

Amateur    Cinema     League    offices    are    open    from 
9:00   A.M.   to   5:00   P.M.,    Mondays   through    Fridays 


190 


Production 


ddli"  l/vom 


Photographs  by  Erich   Kastan 


191 


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•  Frames  from  16mm.  sound 
picture,  "The  Volunteer 
Nurses'  Aide." 


JAMES     W.     MOORE,      ACL 

JUST  three  weeks  to  a  day — from  the  first  written  word  of  the  film  plan  to 
the  last  fade  out  on  The  End — was  the  record  set  recently  in  New  York 
City  by  the  100  percent  volunteer  production  of  a  film  for  America's  war 
effort.  The  Volunteer  Nurses'  Aide,  running  460  feet  of  16mm.  monochrome 
sound  on  film,  is  a  challenging  answer  to  any  who  have  said,  "It  can't  be 
done."  IT — the  completely  volunteer  production  of  a  competent  defense  film 
— has  been  done  and  done  well! 

Here  is  how  it  happened.  As  you  well  know,  the  Amateur  Cinema  League 
has  for  months  been  urging  individual  amateurs  and  groups  of  amateurs  to 
turn  their  movie  making  skill  to  the  service  of  their  country.  Many  have  done 
so,  and  many  more  are  at  this  minute  engaged  in  further  work.  Recently  such 
an  opportunity  came  to  movie  makers  in  New  York  City.  For,  from  the  Man- 
hattan Civilian  Defense  Volunteer  Office  came  a  call  to 
the  Amateur  Cinema  League  to  assist  them  in  organizing 
the  production  of  defense  films  on  a  voluntary  basis. 

The  League  welcomed  this  opportunity  in  its  head- 
quarters city.  After  a  preliminary  discussion,  the  ACL 
sent  formal  requests  to  a  number  of  League  members  in 
the  metropolitan  area,  asking  them  if  they  would  offer 
their  services  to  the  Civilian  Defense  Volunteer  Office  in 
the  proposed  production.  Each  one  accepted  immediately 
and  with  enthusiasm.  Other  League  members  were  found 
who  were  willing  to  underwrite  the  basic  costs  of  the 
project. 

Leo  J.  Heffernan,  ACL,  winner  of  the  Maxim  Memorial 
Award  in  1941,  accepted  the  important  post  of  director 
and  cameraman.  Mrs.  Lee  Dick,  ACL,  associate  director  of 
the  CDVO  Film  Bureau,  undertook  the  responsibilities  of 
production  supervisor  and  acted  throughout  for  her 
office,  sponsors  of  the  film.  The  League's  continuity  con- 
sultant, working  with  that  bureau  as  a  regular  part  of 
membership  service,  prepared  a  film  treatment  outline 
for  the  suggested  course  of  the  picture. 

A  production  conference  was  then  called.  In  attendance, 
besides  those  just  mentioned,  were  Mrs.  Randolph  Gug- 
genheimer,  director  of  the  CDVO  Film  Bureau  and  her- 
self an  able  amateur  filmer,  and  Mrs.  William  Rothholz. 
director  of  hospital  service  for  the  American  Red  Cross, 
in  New  York  City.  Since  a  city  wide  campaign  for  in- 
creased enrollment  of  Volunteer  Nurses'  Aides  was  al- 
ready planned  by  the  Civilian  Defense  Volunteer  Office, 
this  problem  of  the  country's  defense  effort  had  been 
selected  as  the  subject  of  the  film.  At  this  first  conference, 
the  treatment  outline  was  discussed  and  was  partially  re- 
vised, the  important  settings  of  the  film  plan  were  se- 
lected and  a  production  schedule  was  arranged. 

A  day  later  Mr.  Heffernan  had  translated  the 
accepted  treatment  outline  into  a  full  fledged  shoot- 
ing script,  which  was  in  turn  approved  by  all  those 
concerned  with  it.  The  story  called  for  a  brief  in- 

16mm.    scenes  by 

Leo  J.   Heffernan,  ACL       I 


troduction,  stating  the  country's  great  need  for  Volun- 
teer Nurses'  Aides:  major  sequences  outlining  the 
registration  of  a  Volunteer  Nurses'  Aide  and  the  two 
phases  of  her  Red  Cross  training;  slightly  shorter  se- 
quences high  lighting  the  Aide's  graduation  and  actual 
hospital  service,  and  a  moving  appeal,  in  conclusion, 
for  new  volunteers. 

The  major  settings  required  by  the  scenario  were 
arranged  for  by  Mrs.  Dick,  as  production  supervisor. 
The  first  day  of  shooting  was  devoted  to  scenes  of 
registration,  interview  and  physical  examination  of 
the  new  volunteers,  activities  carried  on  in  the  Civilian 
Defense  Volunteer   Office   itself.   On   the  second  day, 

rs.  Rothholz  had  ready  the  complete  cooperation  of 
Red  Cross  headquarters,  with  an  actual  class  of  volun- 
teers in  training  assigned  to  the  production,  and  of  the 
classrooms,  with  the  provision  of  all  necessary  proper- 
ties, such  as  Nurses'  Aide  uniforms  and  training  equip- 
ment. A  reenactment  of  The  Capping,  graduatien  cere- 
mony after  eighty  hours  of  training,  was  especially 
staged  for  the  production. 

The  third  and  fourth  days  of  the  shooting  schedule 
found  the  production  unit  at  New  York's  great  Mount 
Sinai  Hospital.  Here,  at  the  request  of  the  CDVO  and 
of  the  Red  Cross,  Grace  Warman,  principal  of  the 
School  of  Nursing,  had  arranged  for  filming  actual 
wards  and  patients  in  long  shot,  while,  for  near  shots 
and  closeups,  a  ward  was  set  up  in  the  hospital's  larg- 
est classroom.  Miss  Warman  obtained  the  willing  co- 
operation of  doctors,  registered  nurses  and  graduate 
Nurses'  Aides,  as  needed.  All  the  important  phases  of 
the  Aide's  training  and  later  service,  including  an 
exciting  sequence  suggesting  the  hospital's  emergency 
medical  service  during  an  attack,  were  recorded  in  two 
days  of  concentrated  shooting. 

In  each  of  these  scenes  and  settings,  all  the  parts, 
save  for  the  film's  leading  role,  were  played  by  those 
actually  engaged  in  the  work  pictured.  However,  the 
script  called  for  a  single  central  character — a  young 
girl  whose  adventures  as  a  Volunteer  Nurses'  Aide 
present  the  theme  of  the  picture.  The  producers  were 
fortunate  in  securing  the  volunteer  services  of  an  ex- 
pert. Patsy  Campbell  was  selected  from  among  a 
number  of  trained  actresses  offered  by  the  American 
Theatre  Wing,  and  she  went  through  her  week  long 
assignment  with  unflagging  zest  and  ability. 

It  had  been  decided  at  the  outset  of  the  production 
to  shoot  the  footage  at  twenty  four  frames  a  second, 
thus  making  possible  the  creation  of  both  sound  and 
silent  versions  of  the  film.  Technically,  this  idea  was 
worked  out  as  follows — with  all  the  shooting  com- 
pleted, the  picture  footage  was  first  edited  from  the 
point   of  view  of  a   post   re-       [Continued  on  page  2081 


192 


How  Red  Cross  was  served 
by  two  volunteer  filmers 


•  Film  and  services  for  this 
Red  Cross  movie  were  do- 
nated by  two  public  spirited 
movie    makers. 


WALTER    BERGMANN,    ACL,        and     JAMES     J.     BERMAN,     ACL 


VVVE  ARE  mighty  proud  of  the  Red  Cross  service  pins 

»  »    in  our  coat  lapels.  To  us,  they  are  badges  of  honor 

for  the  good,  hard  work  that  we  did  for  that  greatest  of 

all  humanitarian  organizations,  the  American  Red  Cross. 

To  serve  the  Red  Cross,  we  gladly  gave  up  practically 
all  our  spare  time  for  a  whole  month,  to  make  a  450 
foot,  16mm.  color  movie  depicting  the  activities  of  the 
Mt.  Vernon,  N.  Y.,  Branch  of  the  American  Red  Cross. 
Because  the  picture  had  to  be  ready  for  the  Annual  Roll 
Call,  there  was  but  a  month  in  which  to  film  the  scenes. 
make  the  titles,  edit  the  picture  and  select  the  phono- 
graph recordings  for  musical  accompaniment,  but  it 
was  finished  on  time. 

This  picture  is  different  from  the  Red  Cross  pictures 
used  in  theatres.  It  is  no  soul  stirring  epic  of  battlefield, 
flood  area  or  major  catastrophe.  It  is  just  a  simple  pic- 
ture of  folks  in  our  community.  The  cast  is  composed  en- 
tirely of  local  volunteer  Red  Cross  workers,  and  the  movie 
was  made  by  two  amateur  movie  makers  who  gave  their 
efforts  wholeheartedly. 

The  picture  has  been  projected  over  forty  times  before 
business  and  social  organizations,  religious  institutions 
and  schools.  Over  4000  persons  living  in  Mount  Vernon 
have  seen  it.  Without  exception,  the  audiences  have  al- 
ways responded  with  genuine  enthusiasm. 


We  like  to  think  that  it  was  our  filming  skill,  the  stir- 
ring musical  accompaniment  and  the  crisp  wording  of  our 
titles  that  gave  the  movie  its  "punch,"  but  we  know,  in 
our  hearts,  that  it  was  the  actors  and  what  they  were 
doing  for  the  Red  Cross  that  captured  the  fancy  of  the 
audiences.  Mt.  Vernon  citizens  who  viewed  the  picture 
recognized  their  neighbors  and  friends  in  it  and  imme- 
diately felt  that  they  had  a  proprietary  interest  in  the 
film.  It  was  a  picture  of  people  that  they  knew  and  it 
revealed  to  most  of  them,  for  the  first  time,  many  of  the 
local  activities  carried  on  by  the  Red  Cross.  Such  com- 
ments as  "Doesn't  Mrs.  Jones  look  natty  in  that  Motor 
Corps  uniform!,"  "I  must  take  that  Red  Cross  First  Aid 
course,"  "Oh,  look,  there's  Mrs.  Brown"  and  "How  neatly 
those  bandages  are  folded!"  were  made  continually  dur- 
ing screenings. 

Since  we  recognized  that  the  production  was  to  be  a 
glimpse  at  the  everyday  scenes  in  the  local  branch  of  the 
Red  Cross,  we  dedicated  the  picture  in  the  opening  title 
as  follows: 

Foreword — 

While  every  one  knows  of  the  great  uork  performed 
by  the  Red  Cross  throughout  the  world,  few  people  realize 
that   right  here   in   Mount   Ver-       [Continued  on  page  208] 


194 


Fig.  I 


Fig.  2 


Fig.  3 


Photographs  by  Frederick  G.  Beach,  ACL 


WHEN  we  had  finished  our  adventures  in  filming  Fluffy,  the 
Kitten  (Movie  Makers,  March,  1941),  we  had  just  about  de- 
cided not  to  undertake  any  production  which  might  involve  work- 
ing with  animals  that  could  not  be  expected  to  understand  verbal 
directions.  The  reactions  to  Fluffy  were  so  cordial,  however,  that  we 
finally  succumbed  to  the  idea  of  making  another  educational  film 
for  children. 

In  searching  about  for  a  subject,  we  had  in  mind  the  trouble 
that  we  had  encountered  in  limiting  the  area  in  which  the  subject 
could  move.  (Some  limitation  is  necessary  if  you  are  to  be  able  to 
light  the  scene  and  to  focus  on  the  subject.)  Finally,  we  hit  upon 
what  we  thought  would  be  the  ideal  solution — a  film  about  fish. 
Obviously,  fish  could  not  prowl  about  the  room,  and  they  certainly 
would  not  stroll  over  and  smell  the  camera  lens  every  time  that  a 
closeup  was  to  be  taken.  Yes,  a  film  about  fish  would  be  a  very 
simple  endeavor. 

We  first  decided  to  do  a  movie  about  tropical  fish,  but  we  knew 
of  several  excellent  ones  that  had  already  been  made;  then,  too, 
this  was  to  be  a  teaching  film,  and  the  care  of  tropical  fish  might 
be  a  bit  complicated  for  young  children;  so,  we  felt  that  a  simple 
exposition  of  the  life  of  a  goldfish  would  be  the  best  plan.  Thus,  the 
production  of  Finny,  the  Goldfish  began. 

We  shall  omit  the  lengthy  procedure  of  research  and  the  prep- 
aration of  a  script  that  was  based  upon  the  information  that  we  had 
gleaned  from  books,  pamphlets  and  authorities  on  the  subject.  Suffi- 


Fig.  4 


The  domestic  aquarium 
has  a  world  of  cine  lure 


Fig.  5 


•  Fig.  I — the  tank  on 
the  kitchen  stepladder 
with  the  lighting  setup. 
Fig.  2 — the  mask  cut 
out  of  cardboard,  to 
protect  lens  from  direct 
rays  of  lights.  Fig.  3 — 
mask  in  place  and 
taped  to  tank.  Fig.  A — 
filming  position  for  full 
shot  of  tank.  Fig.  5 — 
taking  an  ultra  closeup. 


n 


w 


n 


b 


1 

N 

u 

195 


cient  to  say  that  we  soon  found  out  that  there  was  more 
to  the  subject  than  we  had  anticipated,  but  we  were  con- 
stantly encouraged  by  the  thought  that  the  filming  would 
be  no  problem  at  all. 

Our  final  bit  of  research  took  place  at  the  local  fish 
store,  where  we  purchased  two  oblong  glass  tanks  (we 
made  sure  that  the  glass  showed  no  scratches  or  other 
imperfections),  a  bag  of  small  white  gravel,  some  water 
plants,  a  hose  for  siphoning  the  water  out  of  the  tank, 
a  small  net,  some  fish  food  and  several  plain  goldfish. 
We  felt  that  we  should  need  two  tanks,  so  that  we  could 
keep  all  the  fish  in  one,  and  then  dip  out  the  single  fish 
that  we  might  want  to  film  at  any  one  time.  Thus  we 
should  have  a  filming  tank  and  a  supply  tank. 

Because  of  the  fact  that  we  expected  to  drip  water 
about,  we  decided  to  do  the  filming  in  the  kitchen,  and 
we  found  that  a  small  folding  kitchen  ladder  would  make 
an  excellent  support  on  which  to  place  the  fish  tank  that 
was  to  be  filmed.  After  setting  the  ladder  and  tank  up, 
and  filling  the  tank  with  all  the  proper  greens,  sand  and 
water — but  no  fish — we  did  a  bit  of  experimenting  with 
lights.  We  planned  a  scene  area  that  would  be  no  larger 
than  the  tank,  and  we  found  that  the  new  inside  silvered 
flood  bulbs  gave  us  just  the  brilliant,  concentrated  light 
that  we  needed.  We  placed  them  within  inexpensive  re- 
flectors and  attached  the  bakelite  handles  used  on  Silex 
coffee  percolators  (The  Clinic,  November,  1941,  Movie 
Makers)  for  ease  in  manipulation. 

Since  the  camera  was  quite  close 
to  the  tank,  we  met  our  first  prob 
lem   in   the   fact   that,    even 
with   the   light   concentrated 
on  the  scene  area,  some  di- 
rect  light  was  still  striking 
the  camera  lens.  Rather  than 
making    a    deep    lens    hood 
for  the  camera,  we  decided 
to  make  a  full  mask  for  the 
tank,  so  that  we  could  place 
lights  in  any  position  behind 
the  mask  and,   at  the  same 
time,  prevent  any  of  the  rays 
from  striking  the  lens  directly.  This  solu- 
tion was  very  simple,   and  it  worked  out 
entirely  to  our  satisfaction. 

We  first  placed  a  section  of  corrugated 
cardboard  across  the  highest  step  of  the 
ladder  below  its  top  which  supported 
the  tank.  This  position,  as  well  as  the 
placement  of  the  lights,  can  be  seen 
in  Fig.  1.  Next,  we  acquired  a  large 
cardboard  packing  case  and,  from  it, 
we  cut  one  side  and  part  of  the  two 
lower  corners,  which  we  folded  back 
so  that  they  would  support  the  large 
side  upright.  Then,  in  the  cardboard, 
we  cut  a  hole  the  size  of  the  tank. 


KENNETH     F.     SPACE,     ACL 

(See  Fig.  2.)  We  also  cut  away  part  of  the  cardboard 
below  the  opening,  to  accommodate  the  slanting  legs  of 
the  ladder.  Fig.  2  shows  the  cardboard  being  put  into 
position,  and  Fig.  3  shows  it  in  place  and  also  shows  how 
it  blocks  the  direct  rays  of  the  light. 

As  can  be  seen  in  the  illustrations,  the  large  cardboard 
mask  rests  on  the  long  piece  of  cardboard  that  was  first 
placed  across  the  step  of  the  ladder.  Also  are  shown  the 
pieces  of  adhesive  tape  that  are  used  to  attach  the  mask 
to  the  tank  and  to  seal  the  slit  between  the  two. 

With  this  arrangement  of  the  mask  and  the  lights,  we 
were  able  to  illuminate  the  fish  tank  so  that  the  water 
appeared    to    be    brilliant    and      [Continued  on  page  210] 


es  by  v 
the  f£',  V°Oi 


•  Frames  from  "Finny, 
the  Goldfish,"  filmed  by 
the  author  by  methods 
he   describes   here. 


PROJECTION  FOR  DEFENSE 


196 


AFTER  defense  and  war  films  have  been  made,  they 
^  must  be  shown — shown  to  everybody.  Otherwise 
all  the  effort  of  production  is  wasted.  It  is  in  making 
possible  a  tremendous  number  of  showings  that  the 
amateur  fiimer  can  contribute  the  most.  He  can  give  his 
own  services  and  can  use  his  own  projection  equipment, 
to  show  defense  training  films  to  many  small  groups. 
Thus,  essential  information  will  reach  the  masses  just 
so  much  more  quickly. 

The  amateur  with  a  16mm.  sound  on  film  projector 
will  be  in  immediate  demand,  for  most  defense  training 
films  in  use  are  16mm.  sound.  Of  course,  silent  pictures 
are  used,  too,  and  their  number  will  increase  as  movie 
makers  turn  their  cameras  to  defense  topics.  At  the  mo- 
ment, however,  the  greater  demand  is  for  sound  pro- 
jection. 

Mr.  Movie  Maker  should  get  in  touch  with  his  local 
Defense  Council  at  once  and  offer  his  services  for  show- 
ing the  films  that  it  is  using.  Although  he  may  not  have 
a  sound  projector  of  his  own,  his  service  will  be  wel- 
comed in  operating  sound  equipment  which  the  council 
may  have  available.  By  offering  himself  as  an  operator, 
he  will  help  to  distribute  the  burden  which,  up  to  now, 
has  fallen  on  a  very  few. 

When  Mr.  Movie  Maker  goes  out  to  project  a  film,  he 
should  handle  the  job  in  a  thoroughly  professional  man- 
ner. The  professional  operator  always  starts  by  checking 
his  equipment  before  leaving  his  base.  He  assures  himself 
that  the  projector  is  running  properly,  that  it  is  clean  and 
that  it  has  been  oiled.  He  makes  certain  that  spare  lamps, 
spring  belts  and  takeup  reels  are  in  the  case.  Also  he  sees 
that  he  has  lens  cleaning  tissue  and  an  aperture  cleaning 
brush,  for  it  is  sometimes  necessary  to  clean  the  gate  be- 
tween reels. 

These  things  are  of  paramount  necessity.  Now  let  us 


•   Project   over 


A   projection   guide   for 
group  and  club  screenings 

ARTHUR     A.     HEBERT,     ACL 

consider  the  whole  list  of  equipment  that  is  useful  in 
projection.  All  the  items  listed  in  the  following  discussion 
are  not  necessary  in  all  cases.  If  the  volunteer  projection- 
ist has  all  the  facilities  discussed,  he  is  exceptionally  well 
equipped.  If  he  does  not  have  those  things  he  needs,  per- 
haps he  can  borrow  them  and,  if  not,  he  will  make  the 
best  compromise  possible. 

The  screen  should  be  of  a  size  that  is  adequate  for  the 
hall  or  audience.  It  should  be  at  least  thirty  nine  by  fifty 
two  inches  and  should  be  of  the  tripod  stand  type.  Gen- 
erally, a  forty  five  by  sixty  or  fifty  two  by  seventy  two 
inch  screen  is  used  by  professional  16mm.  projectionists, 
and  a  number  of  them  also  carry  a  six  by  eight  foot 
screen,  for  use  in  larger  halls. 

Extra  projection  lenses  of  three  or  four  inch  focus  will 
be  found  to  be  desirable.  They  permit  one  to  place  the 
projector  at  the  rear  of  the  group  and  yet  to  keep  the 
image  down  to  the  screen  size.  The  standard  two  inch  lens 
will  fill  a  thirty  nine  by  fifty  two  inch  screen  at  a  dis- 
tance of  twenty  three  feet,  while  a  three  inch  lens  will 
give  the  same  size  picture  at  thirty  four  and  a  half  feet, 
and  a  four  inch  lens  will  do  the  same  job  at  forty  six  feet. 
Two  and  a  half  and  three  and  a  half  inch  lenses  are  also 
available,  to  work  at  intermediate  distances. 

Extension  cables  are  an  absolute  necessity.  A  length  of 
at  least  fifty  feet  should  be  carried  at  all  times;  it  is 
often  necessary  to  run  the  alternating  current  line  all  the 
way  from  the  front  of  the  hall  back  to  the  pro- 
jector. This  extension  cable  should  be  made  of 
No.  14  wire.  It  is  a  matter  of  personal  choice 
whether  the  cord  be  one  continuous  length  or  be 
made  up  of  twenty  foot  sections.  The  cable  should 
be  coiled  carefully  and  tied  in  the  coil.  A  small 
canvas  bag  will  make  a  handy  carrying  case  for 
the  cable. 

Sound  projectors  are  equipped  with  fifty  feet 
of  speaker  cable  as  standard  equipment.  You  will 
find  it  almost  absolutely  necessary  to  carry  a 
fifty  foot  extension.  While  your  alternating  cur- 
rent extension  cable  can  be  made  by  any  elec- 
trician, speaker  cables  are  of  special  construc- 
tion, and  they  must  be  purchased  from  your 
dealer  or  projector  manufacturer. 

There  are  several  makes  of  projector  stands 
on  the  market.  If  you  have  one,  use  it.  A  projec- 
tor stand  will  save  you  much  scurrying  around, 
looking  for  suitable  tables.  And,  much  more  im- 
portant, it  will  permit  you  to  raise  the  projector 
high    enough    to    clear      [Continued  on  page  2201 


FILMING   NEW  BRUNSWICK'S   ISLE 


Life  on  Grand  Manan  is  subject  of  record  film 


IT  WAS  a  sunshiny  and  brilliant  day  on  Grand  Manan, 
New  Brunswick's  island  in  the  Bay  of  Fundy.  The  best 
filming  weather  ever,  but  I  was  looking  for  fog.  I  wanted 
to  film  the  weather  beaten  gray  villages  of  Grand 
Manan 's  coast  and  I  wanted  to  catch  them  in  one  of  the 
fogs  that  roll  in  from  the  Bay  of  Fundy. 

I  was  shooting  in  color,  and  one  limited  experience  in 
filming  a  soft  fog  in  color,  years  ago,  had  given  me  an 
unlimited  desire  to  experiment.  When,  finally,  the  fog 
did  come  in  from  the  sea,  I  made  atmospheric  shots  of 
the  fishing  villages  that,  I  feel,  are  more  beautiful  and 
expressive  than  the  crystal  clear  results  of  a  brilliant  day. 
Fog  fits  these  seacoast  and  fishing  villages;  it  sets  off  the 
weather  beaten  grayness  of  the  villages  of  North  Head, 
Castalia,  Grand  Harbour  and  Seal  Cove,  and  fog,  light 
and  fairly  heavy,  is  inexpressively  effective  in  color  shots. 
Try  it  some  time. 

Grand  Manan  is  an  island  that  wins  its  way  to  your 
heart  as  you  explore  it.  Its  people  are  so  friendly  and 
its  villages  are  so  picturesque  that  it  does  not  take  you 
long  to  find  a  theme  for  a  movie.  The  life  of  the  island's 
people  and  how  they  earn  their  living  are  an  obvious 
movie  motif. 

One  of  the  first  things  that  attract  the  visitor's  attention 
and  call  for  an  explanation  from  his  guide  is  the  sight  of 
the  piles  of  sticks  and  brush  that  are  just  offshore.  These 
piles  are  shaped  like  large  G's,  with  the  crossbar  drawn 
out  to  a  considerable  length.  The  visitor  is  told  that  these 
are  weirs — pronounced  "wares" — gigantic  fish  traps  for 
the  herring.  Grand  Manan  lives  by  catching  herring.  The 
fish   follow   the  shore   line  until   they  reach   one   of  the 

•  Lead  title   and   frames  from   "Grand    Manan," 
New     Brunswick     movie     described      by     author. 


ROBERT     W.     CROWTHER,     ACL 

elongated  crossbars,  which  turns  their  direction  into  the 
open  part  of  the  G.  The  entrance  to  the  weir  is  very 
cleverly  trapped,  and  the  herring  stay  there.  When  the 
weir  is  judged  to  be  sufficiently  full,  it  is  seined,  and  here 
is  a  grand  opportunity  for  a  sequence. 

Everything  depends  on  the  tide,  and  my  first  seining 
took  place  early  one  morning.  We  had  made  arrange- 
ments with  a  captain,  to  take  us  on  board  his  boat.  The 
time  was  set  for  five  o'clock  in  the  morning,  and  this 
hour  meant  that  we  should  get  out  at  four  o'clock,  for 
first  we  had  to  drive  to  Whale  Cove. 

Even  though  it  was  July  and  there  was  a  heat  wave 
back  home,  four  o'clock  in  the  morning  on  Grand  Manan 
was  more  like  January  than  summer,  and  our  teeth  chat- 
tered with  the  cold.  But  it  is  something  to  be  cool  in  July, 
and  we  went  well  fortified  with  extra  sweaters  and  coats. 

The  sun  was  just  coming  over  the  horizon  when  we 
reached  the  cove,  and  the  silhouette  of  the  dark  shacks 
and  fish  reels  against  the  early  morning  light  made  a 
good   opening   shot   for  the  picture  that   was  to   follow. 

Gradually,  the  men  who  were  to  seine  the  weir  put  in 
their  appearance.  This  work  is  not  a  one  man  proposi- 
tion; in  fact,  usually  several  men  share  an  interest  in  one 
weir,  which  may  bear  such  a  fascinating  name  as  Brown 
Bread.  Toothpick  or  Polly.  The  captain  greeted  us,  and 
we  soon  piled  into  his  dory;  then  we  were  transferred  to 
a  larger  boat  that  was  to  take  the  catch.  In  the  mean- 
time, we  were  filming  the  men  as  they  gathered  in  the 
net  from  the  reel  that  was  on  a  float  near  by. 

Then  our  vessel  entered  the  weir  itself,  and  the  net  was 
lowered.  Soon  the  waters  about      [Continued  on  page  211] 


16mm.   scenes  by  Robert  W.   Crowthev,   ACL 


197 


198 


•  George  Cadenas  filming 
Consolidated  Edison's  "Men 
at   Work   and    at    Play." 


PRACTICAL 
FILMS 


Movie  of  Manhattan 

New  York  Calling!,  a  new  motion  picture  of  the 
world's  greatest  city,  has  been  announced  by  the  New 
York  Central  System  as  the  first  release  of  its  Motion 
Picture  Bureau,  in  charge  of  Frederick  G.  Beach,  ACL, 
former  technical  consultant  of  the  League.  Running  800 
feet  of  16mm.  sound  on  film  Kodachrome,  the  produc- 

•    Frames   from    "New    York    Calling!",    produced    by 
the  Motion  Picture  Bureau  of  the   New  York  Central. 

16mm.  scenes  by  Frederick  G.  Beach,  ACL 


1GHTSEBNG  MtOUHD 


fianii 


The  non  theatrical  movie  as 
used  for  various  purposes 

JAMES     N.     YOUNG,     jr. 

tion  was  planned  and  filmed  by  Mr.  Beach,  with  a  nar- 
rative written  by  Gordon  Auchincloss  and  given  by  Vin- 
cent Connolly. 

Designed  primarily  as  entertainment  and  education, 
New  York  Calling!  lays  special  stress  on  the  historical, 
cultural  and  educational  facilities  offered  by  Manhattan. 
A  brief  and  attractive  introduction  brings  the  visitor 
swiftly  down  the  Hudson,  along  the  picturesque  Water 
Level  Route  and  into  the  famed  Grand  Central  Terminal. 
From  there,  one's  mythical  tour  ranges  from  the  embat- 
tled Battery  (where  the  historic  Aquarium  is  soon  to 
disappear ) ,  uptown  through  Washington  Square,  the 
shops  of  Fifth  Avenue,  Rockefeller  Center,  the  Hayden 
Planetarium,  Riverside  Drive,  to  the  far  reaches  of  The 
Cloisters,  on  the  heights  of  Fort  Tryon  Park.  Unusually 
attractive  sequences  feature  the  Children's  Zoo  and  the 
African  Plains,  recent  developments  in  the  Bronx  Zoologi- 
cal Park,  which  are  ideal  subjects  for  any  movie  maker. 
Copies  of  New  York  Calling!  are  being  distributed  on 
free  loan  for  group  screenings,  from  eleven  distribution 
points  across  the  country,  as  noted  in  the  Free  Film  Re- 
views section  of  this  number  of  Movie  Makers. 

Experiment  in  Eulogy 

Praise  for  twenty  five  years  of  company  service  is  a 
fine  thing.  But  when,  in  one  ceremony,  sixty  veterans 
must  be  praised  one  by  one,  the  occasion  becomes 
lengthy  for  both  employer  and  employee.  In  February, 
veterans  of  the  Consolidated  Edison  Company  of  New 
York  City  were  spared,  when  their  tribute  took  the  form 
of  a  film,  Men  at  Work  and  at  Play.  The  picture  showed 
the  old  timers  on  the  job  and  off,  working  and  living  as 
they  had  been  doing  for  a  quarter  of  a  century,  and  it 
made  the  real  value  of  their  services  to  the  company  more 
apparent  than  could  mere  spoken  words.  The  film,  1800 
feet  of  16mm.  Kodachrome  with  a  separate  musical  back- 
ground and  commentary,  was  produced  by  George 
Cadenas,  of  Consolidated  Edison's  Editorial  Bureau. 

[Continued  on  page  217] 


199 


Virginia   Conservation  Commission 


•  Above,  Monticello,  home  of  Thomas  Jefferson,  is  good 
cine  material.  At  right,  scenes  from  8mm.  color  movie, 
"Holiday  in   Dixie,"  filmed    by   author. 


HOLIDAY 
IN   DIXIE 


8mm.    scenes   by 
Morton  H.  Read,  ACL 


How  a  movie  maker  both 
had    it   and    recorded    it 


•    Restore 
which   th 


FOR  more  than  three  centuries,  the  land  south  of  the 
Mason  Dixon  Line  has  been  storing  up  glamour,  ro- 
mance and  tradition  until  today,  in  its  landmarks  and 
memorials,  it  is  fair  game  for  any  movie  maker.  To  some, 
the  South  means  a  boardwalk  at  Palm  Beach  or  a  casino 
at  Miami,  and  to  these  unfortunates  Virginia  and  the 
Carolinas  are  only  the  States  through  which  passes  the 
Ocean  Hi-Way,  "Shortest  Route  to  the  South."  But  it  is 
within  the  boundaries  of  these  very  States  that  the  real 
makings  of  a  film  are  to  be  found. 

To  be  sure,  an  attempt  to  reproduce  in 
movies  an  atmosphere  now  almost  for- 
gotten requires  much  ground  work,  for  a 
movie  of  a  collection  of  monuments  or 
markers  without  story  or  background  can 
be  a  total  loss. 

I  realized  this  fact  and,  when  I  planned 
Holiday  in  Dixie,  I  consulted  every  folder 
and  travel  guide  about  the  Old  South  that 
I  could  find.  When  I  started  writing  the 
outline  of  the  picture,  I  made  a  resolution 
not  to  stray  from  the  main  subject  without 
great  provocation.  The  only  exceptions  that 
I  made  to  the  rule  were  human  interest 
shots  which  are  around  every  corner  in  the 
South. 

My  own  film  was  divided  into  sections 
like  this: 

1.  Washington.  Introduce  the  city  by  an 
airplane  sequence.  Following  scenes  of  the 
landing  at  the  airport,  take  a  sequence  of 


MORTON     H.     READ,     ACL 

the  city,  featuring  the  memorials. 

2.  The  route  south  over  the  Skyline  Drive. 

3.  Lexington,  Va.,  featuring  Virginia  Military  Institute 
and  Washington  and  Lee  University. 

4.  Natural  Bridge. 

5.  Williamsburg,  Va.,  the  restoration  of  the  18th  Cen- 
tury city. 

6.  Charleston,  S.  C.  and  the  ancient  azalea  gardens. 

7.  Human  interest  wherever  it  can  be  found. 

If  you  want  a  different  treat-      [Continued  on  page  212] 


d     Revolutionary    War    fortifications     at     Yorktown 
amateur  movie   maker  can  film. 


National    Park   Service 


a^*ij(jl 


ak 


K    \  \ 


!)U   'J 3    LJOl    WjJUJ   tt    ill 

...when  Camera,  Fi 


A 


GOOD  CAMERA,  alone,  won't  necessarily  take  good  movies.  It 
has  the  capabilities,  all  right  —  if  it's  in  prime  operating  condition.  Yet 
no  camera  is  better  than  the  film  with  which  it  is  loaded. 

A  good  camera  in  good  condition,  and  loaded  with  good  film  — 
these  are  the  tools  of  movie  making. 

But  how  will  you  use  them?  And  what  will  you  do  with  the  film 
after  you've  exposed  it?  Here  is  where  the  right  technic  is  all  important. 


KNOW  YOUR  CAMERA  IS  RIGHT 


YEARS  treat  cameras  kindly — if  they  are  given  proper  care.  The 
first  Cine-Kodaks  and  Kodascopes,  introduced  over  15  years  ago, 
are  still  giving  good-as-new  performance  to  those  who  have  given 
thought  to  their  maintenance. 

Yet  movie  cameras  and  projectors,  as  is  true  of  all  other 
precision  equipment,  need  periodic  cleaning,  adjustment,  lubri- 
cation. Much  of  this  you  yourself  can  do  by  following  the  direc- 
tions given  in  the  manuals  supplied  with  your  equipment.  In  addi- 
tion, your  Cine-Kodak  dealer  will  gladly  help  out. 

Periodically,  however,  extra  attention  is  needed.  A  com- 
plete overhaul  is  the  wise  and  economical  move. 

Authorized  repair  shops  of  the  Eastman  Kodak  Company 
stand  ready  to  effect  complete  overhaul  of  all  Cine-Kodaks  and 
Kodascopes.  And  ''complete  overhaul"  means  just  that!  All  parts 
that  need  adjustment,  and  can  be  adjusted,  are  adjusted.  Other 
parts  are  repaired.  Still  others  replaced.  The  equipment  is  next 
given  exactly  the  same  tests  and  inspection  which  brand  new 
Cine-Kodaks  and  Kodascopes  must  undergo — and  it  is  then  re- 
turned to  you,  mechanically  good  as  new,  completely  over- 
hauled, and  that  overhaul  backed  by  Eastman. 

Complete  overhaul  prices  are  available  from  your  Cine- 
Kodak  dealer. 


ji/jj 


vjy: 


J 


iu  jjJiJJiy  b'jDL 


and  Technic  ALL  are  right 


. 


KNOW  YOUR   FILM   IS   RIGHT 


ABOUT  the  most  reassuring  of  all  the  pleasant 
aspects  of  movie  making  is  to  load  your  camera  with 
a  fresh  film,  look  at  your  subject,  consult  exposure 
guide  or  meter,  set  and  shoot — knowing  that  the 
film  will  make  the  movie  exactly  as  you  planned  it. 

This  assurance  is  abundantly  yours  when 
you've  Cine-Kodak  Film  in  your  camera.  Wonderful 
full-color  Kodachrome — "regular"  for  outdoor 
daylight  use,  or  indoors  under  Daylight  Photofloods 
.  .  .  Type  A  Kodachrome  for  nighttime  shots  indoors 
and  out  .  .  .  fast,  fine-grained  Cine-Kodak  Super-X 
"Pan"  for  indoor  and  outdoor  movies  .  .  .  super-fast 
Cine-Kodak  Super-XX  "Pan"  for  indoor  shots  and 
movies  under  weak  outdoor  light  with  16-mm.  cam- 
eras .  .  .  ever-dependable  Cine-Kodak  Eight  "Pan" 
for  roll-loading  "Eights"  .  .  .  and  low-cost,  high- 
quality  Cine-Kodak  Safety  "Pan"  for  100-foot 
"Sixteens." 

Any  and  all — you  know  they  are  right. 


KNOW  YOUR  TECHNIC  IS  RIGHT 


IN  movie  making  the  right  technic  is  important  when  unexposed  film  is  in  the 
camera — and  no  less  important  when  exposed  film  is  over  a  splicing  block. 

HOW  TO  MAKE  GOOD  MOVIES,  the  best-selling  movie  mentor  illus- 
trated on  the  back  cover  of  this  magazine,  has  already  improved  the  taking 
and  editing  technic  of  more  than  125,000  cinamateurs.  It  may  not  tell  the 
expert  much  that  he  doesn't  already  know,  but  it's  certain  to  remind  you  of  a 
lot  you  may  have  forgotten. 

And  for  editing  equipment — the  unique  Kodascope  Editor  Outfit 
shown  at  the  right.  It  has  everything  you  need  to  put  your  best  footage  forward, 
handily  grouped  into  a  compact  and  portable  case.  Universal  Splicer,  Koda- 
scope Movie  Viewer,  rewinds,  editing  tray  and  bracket,  storage  space  for  film 
cleaner  and  extra  reels — the  Editor  Outfit  is  one  of  several  Eastman  editing 
units  which  help  you  to  make  your  good  movies  better  than  ever. 

With  camera  "right,"  loaded  with  the  right  film,  exposed  and  edited  to 
best  advantage — you've  got  what  it  takes  to  make  good  movies,  every  time. 


EASTMAN    KODAK    COMPANY,    ROCHESTER,   N.  Y. 


WMM  m    pi        ■■ 

...wfien  Camera,  Fill,  and  Technic  ALL  are  right 


GOOD  CAMERA,  alone,  won't  necessarily  take  good  movies.  It 
has  the  capabilities,  all  right— if  it's  in  prime  operating  condition.  Yet 
no  camera  is  better  than  the  film  with  which  it  is  loaded. 

A  good  camera  in  good  condition,  and  loaded  with  good  film  — 
these  are  the  tools  of  movie  making. 

But  how  will  you  use  them?  And  what  will  you  do  with  the  film 
after  you've  exposed  it?  Here  is  where  the  right  technic  is  all  important. 

KNOW  YOUR  CAMERA   IS  RIGHT 

YEARS  treat  cameras  kindly— if  they  are  given  proper  care.  The 
hrst  Cine-Kodaks  and  Kodascopes,  introduced  over  15  years  ago, 
are  still  giving  good-as-new  performance  to  those  who  have  given 
thought  to  their  maintenance. 

Yet  movie  cameras  and  projectors,  as  is  true  of  all  other 
precision  equipment,  need  periodic  cleaning,  adjustment,  lubri- 
cation. Much  of  this  you  yourself  can  do  by  following  the  direc- 
tions given  in  the  manuals  supplied  with  your  equipment.  In  addi- 
tion, your  Cine-Kodak  dealer  will  gladly  help  out. 

Periodically,  however,  extra  attention  is  needed.  A  com- 
plete overhaul  is  the  wise  and  economical  move. 

Authorized  repair  shops  of  the  Eastman  Kodak  Company 
stand  ready  to  effect  complete  overhaul  of  all  Cine-Kodaks  and 
Kodascopes.  And  "complete  overhaul"  means  just  that!  All  parts 
that  need  adjustment,  and  can  be  adjusted,  are  adjusted.  Other 
parts  are  repaired.  Still  others  replaced.  The  equipment  is  next 
given  exactly  the  same  tests  and  inspection  which  brand  new 
Cine-Kodaks  and  Kodascopes  must  undergo — and  it  is  then  re- 
turned to  you,  mechanically  good  as  new,  completely  over- 
hauled, and  that  overhaul  backed  by  Eastman. 

Complete  overhaul  prices  are  available  from  your  Cine- 
Kodak  dealer. 


KNOW  YOUR  FILM  IS  RIGHT 


ABOUT  the  most  reassuring  of  all  the  pleasant 
aspects  of  movie  making  is  to  load  your  camera  with 
a  fresh  film,  look  at  your  subject,  consult  exposure 
guide  or  meter,  set  and  shoot — knowing  that  the 
film  will  make  the  movie  exactly  as  you  planned  it. 

This  assurance  is  abundantly  yours  when 
you've  Cine-Kodak  Film  in  your  camera.  Wonderful 
full-color  Kodachrome — "regular"  for  outdoor 
daylight  use,  or  indoors  under  Daylight  Photofloods 
.  .  .  Type  A  Kodachrome  for  nighttime  shots  indoors 
and  out  .  .  .  fast,  fine-grained  Cine-Kodak  Super-X 
"Pan"  for  indoor  and  outdoor  movies  .  .  .  super-fast 
Cine-Kodak  Super-XX  "Pan"  for  indoor  shots  and 
movies  under  weak  outdoor  light  with  16-mm.  cam- 
eras .  .  .  ever-dependable  Cine-Kodak  Eight  "Pan" 
for  roll-loading  "Eights"  .  .  .  and  low-cost,  high- 
quality  Cine-Kodak  Safety  "Pan"  for  100-foot 
"Sixteens." 

Any  and  all — you  know  they  are  right. 


KNOW  YOUR  TECHNIC  IS   RIGHT 


IN  movie  making  the  right  technic  is  important  when  unexposed  film  is  in  the 
camera — and  no  less  important  when  exposed  film  is  over  a  splicing  block. 

HOW  TO  MAKE  GOOD  MOVIES,  the  best-selling  movie  mentor  illus- 
trated on  the  back  cover  of  this  magazine,  has  already  improved  the  taking 
and  editing  technic  of  more  than  125,000  cinamateurs.  It  may  not  tell  the 
expert  much  that  he  doesn't  already  know,  but  it's  certain  to  remind  you  of  a 
lot  you  may  have  forgotten. 

And  for  editing  equipment — the  unique  Kodascope  Editor  Outfit 
shown  at  the  right.  It  has  everything  you  need  to  put  your  best  footage  forward, 
handily  grouped  into  a  compact  and  portable  case.  Universal  Splicer,  Koda- 
scope Movie  Viewer,  rewinds,  editing  tray  and  bracket,  storage  space  for  film 
cleaner  and  extra  reels — the  Editor  Outfit  is  one  of  several  Eastman  editing 
units  which  help  you  to  make  your  good  movies  better  than  ever. 

With  camera  "right,"  loaded  with  the  right  film,  exposed  and  edited  to 
best  advantage— you've  got  what  it  takes  to  make  good  movies,  every  time. 


EASTMAN    KODAK    COMPANY,    ROCHESTER,   N.  Y. 


202 


Eric   N.    Unmack,    ACL 


•  Members  and  guests  of  the 
Westwood  Movie  Club,  in  San 
Francisco,  at  recent  annual 
dinner. 


AMATEUR  CLUBS 


New  in  Detroit  Named  after  the  familiar  Flying  Red 
Horse,  of  Mobilgas,  the  Pegasus  Cam- 
era Club,  ACL,  has  recently  been  formed  among  employees 
of  the  Socony- Vacuum  Oil  Company,  in  Detroit.  First  officers 
are  William  N.  Royer,  president;  I.  G.  Walters,  vicepresi- 
dent;  Mrs.  Marie  Hamilton,  secretary;  William  Meese, 
treasurer.  Roland  R.  Nette  is  chairman  of  the  membership 
committee,  with  Arthur  A.  Field  in  charge  of  programs. 
Meetings  are  being  held  on  the  third  Friday  of  the  month, 
in  the  projection  room  of  the  company's  Administration 
Building. 

Prizes  aid  war  Poles  apart,  yet  joined  in  the  war  effort 
of  the  United  Nations,  movie  clubs  in 
the  United  States  and  in  Australia  recently  have  reported 
a  practice  which  may  well  become  a  tradition  of  our  hobby 
for  the  duration.  From  the  Australian  Amateur  Cine  Society, 
in  Sydney,  comes  word  that  prize  monies  awarded  in  their 
late  annual  contest  have  been  returned  by  the  winners  for 
the  purchase  of  war  bonds,  while  in  Philadelphia  recently 
the  first  place  winner  in  the  contest  of  the  Philadelphia 
Cinema  Club  has  returned  his  cash  prize  to  the  club  for 
donation  to  the  Red  Cross.  In  recognition  of  this  action, 
members  of  the  club  voted  unanimously  a  substantial  addi- 
tion to  the  sum  from  the  club's  treasury. 

Linden  aids  defense  ^'r  Raid,  a  one  reel  monochrome 
film,  produced  in  both  8mm.  and 
16mm.,  has  been  completed  by  the  Linden  Cinema  Club, 
ACL,  in  New  Jersey,  and  has  been  approved  by  the  Linden 
Civilian  Defense  Council,  following  a  preview  screening  in 
the  city's  Public  Library.  Production  staff  for  the  picture 
included  Carl  Ehrengart,  director;  Barbara  Cavadel,  assistant 
director;    Allan   Cavadel  and  Dr.   Emanuel  Mandell,   8mm. 


What  organized  groups 
are  doing  ever/where 


JAMES     W.     MOORE,     ACL 

cameramen;  John  Kobus,  16mm.  cameraman;  George  Zoer- 
ner,  electrician;  Mrs.  Peep  Yuhas,  makeup;  Al  Frakas, 
property  man;  Edward  Schoenlank,  titles.  So  successful  has 
been  this  first  volunteer  production  by  the  club  that  the 
Linden  Defense  Council  has  already  requested  further  films 
from  the  club  and  is  making  arrangements  for  a  defense  film 
budget. 

Kenosha  Completes  film      Members   and   guests  of  the 

Kenosha  Movie  Makers  Club, 
in  Wisconsin,  gathered  recently  in  the  city's  Historical  and 
Art  Museum  for  a  premier  screening  of  Kenosha,  The  Gate- 
way City,  a  record  study  of  the  community  in  16mm.  color. 
Norbert  Roeder,  curator  of  the  museum,  wrote  the  original 
treatment  outline,  which  was  translated  into  script  terms  by 
W.  W.  Vincent,  jr.,  ACL,  with  Lewis  Rasmussen,  ACL,  in 
charge  of  filming.  The  titling  treatment  of  the  picture  has 
been  attractively  handled  in  simulated  book  form,  with  each 
of  the  eleven  chapter  headings  introducing  a  major  sequence 
of  the  presentation.  The  production  will  be  screened  locally 
by  the  club  before  civic  and  social  groups. 

Utah's   sixth      Winning  between  them  four  out  of  six  top 
places,  Al  Morton,  ACL,  and  Ted  Geurts 
swept  the  two  advanced  amateur  divisions  in  the  recent  an- 
nual   contest    conducted    by    the      [Continued  on  page  217] 


•  Members  of  Public  Service  Camera  Club  of  N.  J.,  at  recent  meeting  at  Newark,   N.  J. 


Public   Service   News 


JQhfe 


203 


YOUR 

DRAFT 

BOARD 


How  board's  doctor  made 
film  record  of  his  work 

Stanley    H.    Hackman,    M.D.,    ACL 

AS  AN  examining  physician  of  Lancas- 
ter County  Selective  Service  Board 
No.  4,  in  the  State  of  Pennsylvania,  I  have 
seen  many  hundreds  of  American  young 
men  go  through  the  processes  of  the  Army 
draft.  As  an  amateur  movie  maker,  I  have 
had  the  privilege  of  recording  that  historic 
process  in  some  400  feet  of  16mm.  color 
film.  It  was  not  an  easy  filming  job.  My 
results  are  not  perfect.  But  they  do  tell  a 
factual  story  of  one  of  the  greatest  group 
efforts  ever  undertaken  by  the  American 
people.  I  shall  never  regret  an  hour  of  the 
many  that  I  spent  on  this  record  picture. 

My  project  began  with  a  letter,  ad- 
dressed to  the  State  Headquarters  for  Se- 
lective Service,  asking  permission  to  take 
pictures,  not  only  of  our  own  local  center, 
but  also  of  all  the  important  succeeding 
steps  until  a  draftee  was  actually  inducted 
into  the  Army.  A  week  went  by,  then  two 
weeks  and  still  no  answer. 

When,  at  the  end  of  the  third  week,  I  did 
hear  from  Harrisburg,  I  understood  the 
reason  for  the  delay.  My  answer  was  com- 
posed of  seven  different  official  forms,  car- 
rying nine  different  endorsements.  But 
they  brought  me  the  authority  for  filming, 
right  through  to  the  formal  oath  of  al- 
legiance of  the  newly  inducted  soldier. 

I  had  decided  in  the  meantime  to  follow, 
as  far  as  possible,  a  representative  draftee 
from  our  community  through  each  step  of 
the  process.  A  scenario  had  been  roughed 
out,  and  "The  Boy"  was  selected  by  the 
time  my  authority  arrived.  We  had  to  move 
swiftly  from  then  on.  The  Boy,  already  ap- 
proved in  our  board  medical  examinations, 
was  scheduled  to  go  to  Harrisburg  shortly 
for  the  official  Army  checkup.  Before  that 
happened,  I  had  to  rush  through  some 
staged  scenes,  to  show  him  taking  our  own 
draft  board  tests,      [Continued  on  page  215] 


•  Frames  from  the  movie 
of  operation  of  Lancaster 
County  Service  Board,  here 
described. 


Saeorivc 

•  Lancaster  G 
LOCAL  BOARD 


204 


Vke  Clime 


3=c~^ 


Revolver  smoke   made  with 
white  face  powder  or  flour 


Technical  comment  and  timely  topics  for  the  amateur 


KENNETH     F.     SPACE,     ACL 


Viewer  With  movie  making  equip- 
ment becoming  more  diffi- 
cult to  obtain,  we  expect  to  see  great 
strides  in  a  drive  to  "make  it  at  home." 
This  department  of  Movie  Makers 
hopes  to  be  even  more  helpful  than  be- 
fore, in  seeking  out  and  in  originating 
new  methods  for  doing  things  with  ma- 
terials that  may  still  be  available  to 
us  and  at  as  low  a  cost  as  possible. 
The  viewer  illustrated  below,  for  exam- 
ple, cost  less  than  a  dollar,  with  the 
exception  of  the  lens,  which  you  may 
have,  and  the  light  bulb  and  socket, 
which  can  be  found  in  most  homes.  All 
credit  for  the  viewer  shown  here  goes 
to  R.  W.  Hall,  ACL,  from  our  neighbor, 
Canada,  who  tells  us,  "After  studying 
all  the   drawings   that  have  been  pub- 


lished in  Movie  Makers  recently,  and 
after  many  trials.  I  finally  built  a  viewer 
that  gives  me  results.  The  drawing  is 
almost  self  explanatory.  The  box  is 
made  of  one  eighth  inch  Masonite  for 
the  sides  and  of  five  sixteenths  inch  pine 
for  the  top  and  bottom.  Pine  was  used 
in  constructing  the  other  parts,  except 
for  the  base,  which  is  of  five  eighths  inch 
plywood.  For  the  lens.  I  used  the  //3.5 
objective  from  my  8mm.  camera.  It  was 
properly  centered  and  mounted  on  a 
heavy  card,  to  protect  the  thread,  and 
I  focused  it  by  screwing  it  in  or  out. 
The  film  guides  are  made  of  light 
Manila  tag  board,  held  in  place  with 
cellulose  tape,  and  the  apertures  were 
cut  to  fit  the  frame  size  of  the  film  and 
were  centered  on  the  lens.  The  frosted 


Plan  for  making   a   dollar  viewer  described   above 


glass  viewing  screen  was  mounted  in 
saw  cuts.  The  front  section  of  the  box 
is  hinged  on  the  left  side  with  a  spring 
hinge.  This  arrangement  allows  one  to 
place  the  film  easily." 

This  discussion  concludes  Mr.  Hall's 
description,  and  we  should  add  only  a 
word.  We  suggest  that  velvet  be  used 
to  line  the  film  track,  so  that  no 
scratches  may  occur  when  the  film  is 
drawn  through  the  box. 

Stunt  Jerry  Koutnik,  jr.,  ACL,  writes, 
"In  a  small  playlet  that  I 
filmed  recently,  there  was  a  scene  of  a 
revolver  shot.  I  had  to  use  a  toy  pistol, 
but  I  wanted  it  to  smoke  after  the  shot, 
as  if  it  were  a  real  gun.  I  solved  the 
problem  in  the  following  manner.  I  had 
an  assistant  blow  white  powder  (I  used 
flour)  from  a  shallow  plate,  held  at 
one  side  of  the  gun  and  a  little  to  its 
rear.  The  camera  was  quite  close  to  the 
gun,  so  that  the  assistant  and  his  pan 
of  powder  were  outside  the  field  of  view. 
The  result  was  very  convincing." 

We  present  a  diagram  above  to  illus- 
trate the  "stunt,"  and  we  point  out.  at 
Mr.  Koutnik's  suggestion,  that  the  pow- 
der should  not  be  blown  directly  into 
the  camera  lens. 

Titler  "After  seeing  your  article  in 
the  February  Movie  Makers, 
describing  the  titler  made  by  A.  R. 
Bowen,  ACL."  writes  Louis  C.  Duncan, 
"I  decided  to  submit  a  sketch  of  the 
vertical  titler  which  I  made  and  with 
which  I  have  had  excellent  results. 

"I  used  one  inch  plywood,  because  it 
is  rigid  and  yet  it  is  easy  to  work.  The 
base  of  the  titler  is  twelve  by  twenty 
by  three  quarters  inches,  however,  while 
the  rest  of  it  is  made  of  one  inch  stock. 
The  upright  is  one  by  four  by  twenty 
and  a  half  inches  plus  three  quarters 
of  an  inch  for  the  base  into  which  it  is 
mortised,  and  it  is  braced  with  a  metal 
angle  piece,  set  in  beneath.  The  top  or 
camera   base  is  one   by  four  by  eight 


£_,* ,.«.  *■ —  ™ppo" 


-< 

< 

o 

fl 

a. 

O 

5" 

-/°)\ 

,. ,  \r- 


Simple  plan  for  an  efficient  vertical  titler  and  animation   stand 


205 


and  a  half  inches,  into  which  holes  are 
drilled  for  the  lens  of  the  camera  and 
for  the  viewfinder.  On  some  cameras, 
it  might  be  necessary  to  make  the  open- 
ing for  the  lens  larger,  so  that  expo- 
sure and  focusing  controls  may  be 
reached  conveniently.  The  camera  base 
must  be  perfectly  squared  and  level 
with  the  base,  and  a  hole  of  one  quar- 
ter inch  diameter  is  drilled  in  it,  to 
accommodate  a  tripod  screw  to  hold 
the  camera  in  position.  The  camera 
base  should  be  braced  with  triangular 
pieces  of  one  inch  plywood  and.  a  short 
distance  below  them,  a  pair  of  small 
flood  bulbs  in  reflectors  may  be  sup- 
ported on  movable  arms  of  wood  or 
metal,  as  shown  in  the  diagram. 

"By  using  my  Eastman  Model  20 
8mm.  camera  with  a  portrait  attach- 
ment and  by  filming  at  a  small  lens 
opening,  I  get  good  depth  of  field,  and 
the  camera  covers  an  area  or  title  card 
field  size  of  five  by  six  and  three  quar- 
ters inches. 

"I  aligned  the  camera  by  fastening 
it  in  place  and  by  putting  a  flashlight 
behind  the  lens.  The  illuminated  area 
on  the  baseboard  outlined  the  size  of 
the  field  and  its  exact  position.  Then  I 
fastened  small  metal  strips  on  the  base- 
board, to  serve  as  a  guide  in  placing 
the  title  card." 

This  vertical  titler  has  a  special  ad- 
vantage, for  it  provides  an  excellent 
setup  for  making  animated  cartoons. 

Turntable     J-  H-  Tllbbs-  ACL-  sent 

the  photographs  of  the 
excellent  dual  turntable  outfit  which  you 
see  here.  "\ou  may  recall."'  he  writes, 
"that  you  were  so  kind  as  to  send  me 
a  copy  of  the  booklet.  Building  a  Dual 
Turntable.  My  outfit  is  now  finished  and 
working  in  a  very  satisfactory  manner, 
and   I    thought    perhaps   you   might    be 


interested  in  the  results,  although  the 
plans  in  the  booklet  were  not  followed 
closely. 

"The  motors  are  General  Electric  two 
speed.  The  second  button  from  the  left 
is  a  switch  and  volume  control  for  the 
amplifier.  The  three  other  buttons  are 
the  switches  and  volume  controls  of  the 
motors  and  tone  arms,  while  the  toggle 


switch,  right  rear,  take-  care  of  the 
microphone,  which  does  not  appear  in 
the  photograph.  You  may  note  that  the 
outlets  are  all  mounted  on  the  panel. 
This  arrangement,  I  feel,  protects  the 
outlets  when  the  outfit  is  carried  about 
in  the  trunk  of  my  car." 

This  job  looks  like  a  fine  one,  and 
we  are  glad  that  Mr.  Tubbs  changed 
our  plans  to  suit  his  own  needs.  We 
never  feel  that  our  suggestions  regard- 
ing homemade  equipment  must  be  fol- 
lowed to  the  letter  if  the  movie  maker 
wants  to  modify  them.  In  fact,  we  think 
that  individual  changes  and  modifica- 
tions increase  the  usefulness  of  our 
basic  ideas.  Of  course,  if  Mr.  Tubbs 
had  started  with  our  plan  for  a  dual 
turntable  and  had  ended  by  making  a 
titler  out  of  it,  we  might  be  somewhat 
more  concerned. 

Titles  Titles  lettered  in  white  on  a 
black  background  are  quite 
satisfactory  for  most  films.  Some  movie 
makers  print  or  letter  their  titles  in 
black  on  a  white  ground;  they  then  re- 
verse these  values  by  using  positive  film 
when  they  shoot  the  titles.  Other  cam- 
eramen want  to  letter  their  titles  in 
white  on  a  black  background,  so  that 
they  can  shoot  the  cards  with  regular 
reversal  or  Kodachrome  film.  Arthur 
Farrer  follows  the  latter  procedure,  and 
his  method  is  a  very  efficient  one.  He 
writes.  "After  planning  all  my  titles  for 
[Continued  on  page  215] 


Homemade  dual  turntable  in  case  and,  bottom,  ready  for  use 


206 


NEWS  OF 
THE  INDUSTRY 


MacArthuron  16  and  8      The  timeliest  movie  to  have 

been  announced  in  recent 
months  by  Castle  Films,  Inc.,  30  Rockefeller  Plaza,  New  York 
City,  is  Mac  Arthur— Americas  First  Soldier  and  Manila 
Bombed.  Now  released,  it  combines  two  closely  related  sub- 
jects in  one  reel  and  contains  tremendous  appeal. 

This  film  presents  a  screen  symposium  of  General  Mac- 
Arthur's  active  career  up  to  the  period  before  his  sensational 
trip  to  Australia.  There  are  scenes  showing  MacArthur  in 
Manila  after  Japanese  airplane  attacks. 

On  the  same  reel  are  shots  made  as  Manila  burned.  Oil 
tank  explosions,  buildings  aflame  and  public  structures  and 
dwellings  reduced  to  shambles  are  graphically  shown.  This 
special  Castle  News  Release,  including  shots  only  recently 
released  by  the  U.  S.  Army,  is  available  at  photographic 
dealers  in  16mm.  and  8mm..  in  varying  lengths,  at  usual 
Castle  prices. 

Official   Films  moves     Albert    Greenfield,     of    Official 

Films,  Inc.,  calls  attention  to 
the  change  in  address  of  that  company.  It  is  now  located  at 
425  Fourth  Avenue,  New  York  City. 

Vol.  I  of  News  Thrills  of  1942  has  just  been  released  by 
Official  Films;  and,  in  keeping  with  the  accelerated  tempo  of 
world  news  events,  it  inaugurates  this  company's  new  policy 
of  issuing  four  volumes,  instead  of  two  as  in  former  years. 

Mr.  Greenfield  has  just  received  the  Insignia  of  the  Na- 
tional Order  of  Honor  and  Merit  of  the  Republic  of  Haiti, 
from  Elie  Lescot,  President  of  Haiti.  Mr.  Greenfield  has  made 
many  trips  to  the  West  Indies  and  has  done  much  photo- 
graphic work  in  the  Caribbean. 

Mineola  Fair  Contest      0ne   of  the   important